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b. 106-109
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composition: Op. 21, Concerto in F minor, Mvt I
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When interpreted literally, the slurs of A in the ending of bars 106 and 108 do not reach the quavers at the beginning of bars 107 and 109. Both the shape of the signs and the logic of the musical course make it to be an inaccuracy of notation. This is how it was interpreted in GE (→FE→EE), although in the case of bars 106-107 it was most probably a fortunate coincidence – see the previous note. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A |
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b. 106-108
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composition: Op. 21, Concerto in F minor, Mvt III
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Out of two long accents under the chords in the left hand only the first was reproduced in GE1 (→FE→EE) and under the part of the R.H. EE added both accents in the L.H., probably by analogy with bars 90 and 92 and 114 and 116. GE2 restored the notation of A. category imprint: Differences between sources issues: Long accents , EE revisions , Errors in GE , GE revisions |
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b. 106-108
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composition: Op. 21, Concerto in F minor, Mvt III
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In the main text we add cautionary flats before e category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 106-108
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composition: Op. 11, Concerto in E minor, Mvt II
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There are no cautionary naturals before the penultimate semiquaver in bar 106 and 108. They were most probably added in the last phase of proofreading of FE (→EE). category imprint: Differences between sources issues: Cautionary accidentals , Authentic corrections of FE |
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b. 106-108
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composition: Op. 11, Concerto in E minor, Mvt II
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In the first halves of bar 106 and 108, FES contains a fingering written in pencil, generally very blurry (erased?), which poses significant problems not only in recognising the digits, but also even in stating whether they were written in a given place at all. In the places where the digits are distinct enough to state it, one can recognise Chopin's hand. In the main text, we give the digits we were able to decipher on the basis of the available sources to a satisfactory degree of probability. It is noteworthy that the only completely distinct digit, the 3rd finger on e1, the 4th semiquaver in bar 106, generally clearly defines already the entire fingering. The fingering in FEH indicates a different hand position, while the use of the cross-over of the 5th finger seems to be less typical of Chopin in this context. Fontana's fingering in EE is still different, although much closer to the one in FEH. The authenticity of both fingerings is dubious. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FES , Annotations in FEH |
1 in bars 106 and 108. The first of them was added already in 
