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b. 594-595

composition: Op. 39, Scherzo in C♯ minor

L.H. long accents in EE

R.H. short accents in GC

L.H. short accents in FE

R.H. different accents in GE

Our suggestion
..

Accents in these bars differ in length and placement. EE has two long accents, FE - two short ones. We believe that the marks in GC do not differ in size from those of the same kind in the previous bars, and so we present them as short ones. In GE an accent in b. 594 is slightly longer than the following. Both marks in GC are notated closer to the RH part, which was recreated in the same way in GE. In the remaining editions they are placed on the LH fifths. The missing autograph prevents the right assessement, and so we propose a compromise not to impose either way of interpretation of the accents.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents

b. 594

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

..

The traces of proofreading prove that in FE the originally printed 5th quaver was a d1.

category imprint: Source & stylistic information

issues: Terzverschreibung error , Authentic corrections of FE

b. 595

composition: Op. 39, Scherzo in C♯ minor

..

In GC there are no rests in LH, which was corrected in GE.

category imprint: Source & stylistic information

issues: GE revisions , Errors of GC

b. 595-596

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

Slurs in FE (→EE,GE1→GE2)

Slurs in GE3
..

The overlapping slurs of FE (→EE,GE1→GE2) may be interpreted literally; however, according to us, it is highly likely that Chopin wanted to have consecutive slurs like it was interpreted in GE3. See also the note to bars 597-599. 

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in FE , GE revisions

b. 596

composition: Op. 39, Scherzo in C♯ minor

No mark in EE

 in GC (literal reading)

Long accent in GC (contextual interpretation) & FE

 in GE
..

The meaning of the mark in GC in not obvious. At the first glance we have a full bar hairpin , which was interpreted as such by the engraver or revisor of GE and notated above the RH part as diminuendo must have seemed more reeasonable. However, the GC notation implies clearly that the mark does not apply solely to LH but the A1-A octave in particular, which also allows it to be seen as a long accent. FE confirms such interpretetation, where the ocatve is marked with a typical long accent.

category imprint: Differences between sources

issues: Long accents , GE revisions