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b. 477-479
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composition: Op. 39, Scherzo in C♯ minor
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We present the pedalling of GC (rewritten with an error in GE), as it is difficult to imagine that Chopin omitted it purposefully while preparing FE or the basis for EE. category imprint: Differences between sources issues: Errors in GE |
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b. 477-478
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composition: Op. 11, Concerto in E minor, Mvt I
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Simplified notation of FE (→EE), i.e. missing extension of the B semiquaver held with a tie in bar 477, and missing slurs in GE suggest that both extensions could have been added in the last phase of proofreading of FE. Chopin used such a simplified notation on a few occasions, e.g. in the Allegro de Concert, op. 46, bars 162-163. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 477
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composition: Op. 11, Concerto in E minor, Mvt I
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In the context of increasing dynamics, the absence of accents must be considered an inaccuracy – FE most probably overlooked the marks due to the transition to a new page. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 477
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composition: Op. 11, Concerto in E minor, Mvt I
..
The fact that crescendo is not explicitly led to category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 477
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composition: Op. 11, Concerto in E minor, Mvt I
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In the main text, we add cautionary naturals before g and e1. It is difficult to see why those marks were not added even in those editions in which accidentals were carefully revised, e.g. in EE and GE3. category imprint: Editorial revisions |
tied in 
may be explained by an oversight of the engraver or an inaccurate reproduction of [A] – handwritten indications are often much more expanded than the printed version, since it is impossible to reproduce them in such way (cf. e.g. the Mazurka in A
major, op. 24 no. 3, bars