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b. 11
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composition: Op. 25 No 10, Etude in B minor
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In GC (→GE1), FE and EE there are no naturals returning B-b. This patent oversight was corrected in GE2 (→GE3). category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , GE revisions |
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b. 11
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composition: Op. 25 No 12, Etude in C minor
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FE has an f1 instead of a category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , Errors in FE , Terzverschreibung error , Annotations in FES |
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b. 11-12
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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No accents in GC (→GE) is almost certainly an oversight of the copyist, who overlooked all signs between the staves in bars 7-13. The short accents in EE are certainly a result of the standard interpretation of the notation of FE. category imprint: Interpretations within context; Differences between sources issues: Long accents , EE inaccuracies , Errors of GC |
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b. 11-12
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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The absence of category imprint: Differences between sources issues: EE revisions , Errors in EE |
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b. 11-13
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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The used by Chopin in [A] (→GC) abbreviated notation of bars 12-13 (both in the part of the L.H., only the first one in the part of the R.H.) raises doubts concerning the pedalling issues. According to us, it seems to be most justified to adopt that the indications are to be in bars 11-12, but not in bar 13. category imprint: Interpretations within context; Differences between sources issues: Errors in GE , GE revisions |
1 as the 8th semiquaver in the L.H. The engraver's error is proved by the compatible version of the remaining sources, the version of analogous bar 3 and a correction written in pencil in 
in 
