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b. 644-645
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composition: Op. 39, Scherzo in C♯ minor
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In GC (→GE) and EE, the category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
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b. 644
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composition: Op. 39, Scherzo in C♯ minor
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In FE all chords are written as crotchets, and so the bar consists mistakenly of 7 quavers. When we compare it with EE and GC (→GE), we can actually pinpoint the miastake in the last chord of the bar. category imprint: Source & stylistic information issues: Errors in FE |
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b. 644-645
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composition: Op. 39, Scherzo in C♯ minor
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The EE pedalling, however formally correct, raises doubts as for its singling out of the third crotchet in b. 643, which in this tempo is difficult to perform and sonically unjustified. In FE pedal release in b. 645 is surprising as it contradicts the pedaling technique leading to the cumulation of sound of the subsequent chords, which was commonly used by Chopin at the end of his works (but not only there). Pedalling in GC (→GE) must have been omitted (cf. annotation to bars 632-634). For the main text we adopt the pedalling based on FE but without category imprint: Differences between sources issues: FE revisions , No pedal release mark , Errors of GC |
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b. 644
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composition: Op. 11, Concerto in E minor, Mvt I
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In this bar, FE (→EE,GE1→GE2) contains a few poorly justified cautionary accidentals – naturals before c3 and a1 (the 3rd quaver) and a category imprint: Differences between sources; Editorial revisions issues: GE revisions , Cautionary accidentals |
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b. 644
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composition: Op. 31, Scherzo in B♭ minor
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In A nad FC, this bar is a replica of b. 193, and likewise there we regard the shorter category imprint: Differences between sources issues: Errors in GE , GE revisions |
in 
major chords in these bars. We believe they represent a long accent spanning the two chords. The mark in 
in b. 645, whose authenticity we doubt.
repeated before d
