mUltimate Chopin

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b. 646

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

..

In FE, one can see a trace of the original, shorter slur that encompassed only the last group of semiquavers.

category imprint: Corrections & alterations; Source & stylistic information

issues: Authentic corrections of FE

b. 647

composition: Op. 39, Scherzo in C♯ minor

Dotted minim in EE

Minim and rest in GC (→GE) & FE
..

We may suspect that the rhythm of EE is an earlier version of this chord's notation.

category imprint: Differences between sources

b. 648

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

L.H.  ​​​​​​​in FE (→GE1→GE2)

​​​​​​​for both hands in EE

L.H. short accent in GE3

Long accent for both hands suggested by the editors
..

According to us, the placement of the  mark, which we interpret as a long accent, is probably inaccurate in FE – admittedly, Chopin would often use a ​​​​​​​ combination, yet both indications would be then written next to each other and on the same level. In this case, the accent was supposedly to concern both parts and not the L.H. only, which is suggested by the notation of FE (→GE). A short accent in GE3 is a result of interpretation of the discussed mark, performed in the light of bar 646.

category imprint: Differences between sources; Editorial revisions

issues: Long accents , Placement of markings , GE revisions , EE inaccuracies

b. 648-649

composition: Op. 31, Scherzo in B♭ minor

Two-bar  in A (→FC→GE)

One-bar  in FE (→EE)
..

In the manuscripts these bars are marked as repetition of b. 197-198. In spite of that, FE (→EE) reproduced the  mark differently than before, inaccurately.

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 648-657

composition: Op. 31, Scherzo in B♭ minor

No markings in A (→FE→EE)

Pedalling in FC (→GE)
..

In the main text we give the pedalling entered by Chopin into FC (→GE) in b. 197-206 and valid also here due to the abridged notation of the discussed bars.

category imprint: Differences between sources