Issues : Last key signature sign
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b. 436
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composition: Op. 11, Concerto in E minor, Mvt I
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The traces of changes visible in FE prove that Chopin changed the enharmonic notation of the chord – c1 (with a cautionary category imprint: Corrections & alterations; Source & stylistic information issues: Cautionary accidentals , Enharmonic corrections , Last key signature sign |
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b. 445
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composition: Op. 39, Scherzo in C♯ minor
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In EE and GC (→GE) there is category imprint: Source & stylistic information issues: Errors in FE , Cautionary accidentals , Last key signature sign |
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b. 447
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composition: Op. 39, Scherzo in C♯ minor
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EE is most probably original. We cannot completely rule out chance omission of the chord elements written out on the bottom stave (a-h second is notated in the same way in the remaining sources).
In the main text we omit the redundant cautionary category imprint: Differences between sources |
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b. 453
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composition: Op. 21, Concerto in F minor, Mvt III
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In the main text we omit the unnecessary in this context cautionary category imprint: Editorial revisions |
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b. 455
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composition: Op. 21, Concerto in F minor, Mvt III
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In A the only accidental before the 1st chord in the R.H. is the cautionary category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Cautionary accidentals , Omission of current key accidentals , Errors of A , Authentic corrections of GE , Last key signature sign |
) replaced the original b
1. The change was most probably followed by subsequent ones – the cautionary naturals before the c1 semiquaver in bar 436 and c2 in bar 437 were removed. All those accidentals are actually superfluous after bars 434-435; however, they prove that the B major key, present from bar 324, triggered the composer to clearly mark the return to the E minor key, beginning in the discussed bars. 
before d
of d
3 added – probably by Chopin – already in