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b. 644-645
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composition: Op. 39, Scherzo in C♯ minor
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The EE pedalling, however formally correct, raises doubts as for its singling out of the third crotchet in b. 643, which in this tempo is difficult to perform and sonically unjustified. In FE pedal release in b. 645 is surprising as it contradicts the pedaling technique leading to the cumulation of sound of the subsequent chords, which was commonly used by Chopin at the end of his works (but not only there). Pedalling in GC (→GE) must have been omitted (cf. annotation to bars 632-634). For the main text we adopt the pedalling based on FE but without category imprint: Differences between sources issues: FE revisions , No pedal release mark , Errors of GC |
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b. 644
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composition: Op. 11, Concerto in E minor, Mvt I
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In this bar, FE (→EE,GE1→GE2) contains a few poorly justified cautionary accidentals – naturals before c3 and a1 (the 3rd quaver) and a category imprint: Differences between sources; Editorial revisions issues: GE revisions , Cautionary accidentals |
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b. 644
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composition: Op. 31, Scherzo in B♭ minor
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In A nad FC, this bar is a replica of b. 193, and likewise there we regard the shorter category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 645-647
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composition: Op. 11, Concerto in E minor, Mvt I
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The fingering given by Fontana in EE and the one entered in FEH are compliant – both develop Chopin's printed indication. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
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b. 645
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composition: Op. 31, Scherzo in B♭ minor
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As in b. 637 and 639, we consider the staccato dot over b category imprint: Differences between sources issues: Errors in GE , Authentic corrections of FE |
in b. 645, whose authenticity we doubt.
repeated before d
2 on the 4th quaver. 
in 
2 a remnant of the original version, presumably removed during the proofreading of