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b. 357-358

composition: Op. 16, Rondo in E♭ major

in bar 358 in FE (→GE)

in bar 357 in EE
..

In EE, the ​​​​​​​ mark was placed a bar too early. It is difficult to determine whether it is a mistake of the engraver or an intended revision.

category imprint: Differences between sources

issues: EE revisions , EE inaccuracies

b. 357

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

..

FE (→GE1→GE2) is missing the  before the 4th semiquaver, which we do not consider to be a mistake, since the 1st triplet is written an octave lower with an octave sign, and one can consider the  put before b​​​​​​​3 at the beginning of the bar to be valid. The accidental was added in EE as well as in GE3, in which a notation without octave sign was used.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions

b. 357

composition: Op. 2, Variations, complete

Short accents in A (→GE→FE,FESB)

Vertical accents in EE
..

As before (bars 343 and 347) the engraver of EE arbitrarily used vertical accents here.

category imprint: Differences between sources

issues: EE revisions

b. 357-358

composition: Op. 2, Variations, complete

..

As before (bars 343-348) in both manuscripts Chopin used abbreviations to write down repeated R.H. triplets. In AsI he wrote all triplets except the first one in each bar in this manner, while in A all except the first two in bar 357 (most probably due to the slurs) and the first one in bar 358.

category imprint: Differences between sources

issues: Abbreviated notation of A

b. 358-360

composition: Op. 39, Scherzo in C♯ minor

Slur ending in FE & EE

GC (→GE)
..

Slur ending in GC (→GE) seems musically more accurate:

  • harmonic flow sets G major chords as the target  (both in b. 351 and in b. 359);
  • accentuated octaves in bars 360, 362, 364 add a new quality by not connecting with the previous phrase.

category imprint: Differences between sources