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b. 596

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

..

In the main text, we add a cautionary ​​​​​​​ before c1. The accidental was added also in GE3. 

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 596-599

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

2 slurs in FE (→EE,GE1→GE2)

3 slurs in GE3

Slur suggested by the editors
..

It is difficult to determine to what extent the slurs of FE (→EE,GE1→GE2) reproduce the notation of [A] – one can, e.g. imagine that the fact that the slurs coincide on the 1st octave in bar 598 could mean that Chopin wanted to merge them into one slur. What is more, it cannot be excluded that it was already the notation of [A] that contained certain inaccuracies, a vast number of which can be encountered in the preserved Chopinesque autographs, e.g. the missing slur in the ending of the phrase (bars 599-600) could have been related to the transition to a new line of text, which frequently resulted in overlooked endings of slurs. Due to this reason, in the main text we suggest one slur over the entire phrase after the analogous place in exposition (bars 245-249). The solution given in GE3 reveals a routine approach, where it was whole-bar slurs that were considered most natural.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in FE , GE revisions

b. 596

composition: Op. 31, Scherzo in B♭ minor

..

Just like in b. 13 and 145, in the main text we add cautionary flats. The addition was already introduced in GE2 (→GE3).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 597-602

composition: Op. 39, Scherzo in C♯ minor

 in EE

GC (→GE)

FE (contemporary notation)
..

The earlier beginning of the  mark in EE may have resulted from the manuscript's inadequate reading. Both versions of the hairpin endings, however, are as we believe authentic and musically corresponding. They both lead to the longest and harmonically relevant chords of the RH phrase. For the main text we adopt the longer hairpins of GC (→GE), as they correspond with the RH marks (the last crescendo in bars 602-603). The second  mark in FE should most certainly  be understood as continuation of the first. Such a notation is common in Chopin's works.

category imprint: Differences between sources

issues: Hairpins denoting continuation

b. 597

composition: Op. 39, Scherzo in C♯ minor

No marks in EE

Dots in GC (→GE)

L.H. dot in FE
..

In the main text we adopt the exact GC (#→GE) notation. EE and FE may have resulted from inaccuracies in copying or engraving or may be a testimony to the many evolving stages of the authenticity of this bar's notation. 

category imprint: Differences between sources