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b. 121-122
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composition: Op. 21, Concerto in F minor, Mvt I
..
Both ways of pedalling, which can be deduced from the inaccurate and obscure notation of the sources – above all A – may be considered equal, according to us; their sound effect is very similar anyway. In the main text we give a possible interpretation of corrections and entries visible in A. The second proposed version, also referring to the notation of A (interpreted differently), reproduces at the same time the notation of the editions, free from errors. In particular, we correct the erroneous oversight of markings in the middle of bar 121, in which Chopin overlooked the category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Errors in GE , No pedal release mark |
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b. 121
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composition: Op. 21, Concerto in F minor, Mvt I
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GE1 (→FE→EE) has a category imprint: Interpretations within context; Differences between sources issues: Errors in GE , GE revisions |
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b. 121-122
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composition: Op. 21, Concerto in F minor, Mvt I
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The missing staccato dots under the E category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 121
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering digit written by Chopin in FES naturally combines with the Chopinesque fingering of an identical passage in bar 117, given in FED. In this case, we give it in the main text where it was entered, since in spite of compliance, the fingerings are independent – it is also the 4th finger on f category imprint: Differences between sources |
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b. 121
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composition: Op. 16, Rondo in E♭ major
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In EE, there is a short accent. It is an arbitrary revision. category imprint: Differences between sources issues: EE revisions |
sign and in 
instead of 
(cf. 
notes are certainly an oversight of 
3 that can lead to the fingering of 
