The last note of the mordent should be accented in this case.
A Disputed Chopin Reading
In Chopin's Nocturne in F-sharp, after the Doppio Movement, when returning to Tempo I, and counting five measures, should the right hand in the fifth measure play this melody?
The various editions differ from one another in this measure. Peters's edition, generally considered the best edition of Chopin's works, has the second version, which commends itself by its greater naturalness.
Playing the "Melody in F"
In Rubinstein's "Melody in F" should the melody be played in the left hand or be divided between the two hands?
Where there is no valid reason for doing otherwise it is always best to follow the composer's prescription; for, in most cases—and with great composers in all cases—the author knows what he meant to say. In the aforesaid piece, too, I advise you to adhere to this principle, since it is written with a view to teach the division of the melody between the right and left hand. Any other execution would ruin this purposed design.
When Two Fingers Have the Same Note
In Schumann's "Blumenstück," third number, the uppermost notes of the left hand are identical with the lowest of the right hand. Should the thumbs of both hands strike the same keys at the same time all the way through or should the left hand omit them?