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b. 613-614

composition: Op. 31, Scherzo in B♭ minor

 in A (→FCGE1, →FEEE)

in GE2 (→GE3)

 suggested by the editors

..

In accordance with the analysis of the Chopinesque  or  in this and all analogous pairs of bars (see b. 6-7), in the main text we give an averaged, more or less one-bar  hairpin. According to us, all markings, regardless of their actual length, are to be interpreted as long accents.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 614

composition: Op. 11, Concerto in E minor, Mvt I

f in FE (→GE)

e in EE

..

The version of EE must be erroneous – such 'generalisation' of schemes of figurations, particularly those containing recurrent elements, is a relatively frequent mistake of engravers – cf. e.g. bar 594

category imprint: Differences between sources

issues: Errors in EE

b. 615

composition: Op. 11, Concerto in E minor, Mvt I

..

In FE (→GE1GE2, →EE1EE2), there is no accidental before the penultimate semiquaver. The undoubtedly necessary ​​​​​​​ was added only just in GE3 and EE3.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , GE revisions , Omission of current key accidentals , Errors repeated in GE , Errors repeated in EE

b. 615

composition: Op. 11, Concerto in E minor, Mvt I

​​​​​​​in FE (→EE).

No sign in GE

..

The missing ​​​​​​​ hairpin in GE is most probably an oversight, although it may have been added in the last phase of proofreading of FE.

category imprint: Differences between sources

issues: Errors in GE

b. 615

composition: Op. 11, Concerto in E minor, Mvt I

No fingering in FE (→GE)

Fontana's fingering in EE

category imprint: Differences between sources

issues: EE revisions