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b. 135

composition: Op. 21, Concerto in F minor, Mvt I

Long accent between in A

Short L.H. accent in GE

No mark in FE (→EE)

Long R.H. accent suggested by the editors
..

The long accent in A is written in the middle between the staves, so it is unknown to which hand it should be assigned. A comparison with analogous bar 283 proves that Chopin most probably meant accenting the R.H. In GE it was assigned to the L.H. (as a short accent) and in FE (→EE) it was overlooked.

category imprint: Differences between sources

issues: Long accents , Errors in FE , Inaccuracies in GE

b. 135

composition: Op. 21, Concerto in F minor, Mvt III

..

It is difficult to say what the c3 crotchet (grace note?), written in A over the d1-e1 second at the beginning of the bar, means. It is not corresponded by any note in Morch, it was not included in the editions either. In this situation, we regard this inexplicable, from the point of view of melody and harmony, note as a mistake.
Perhaps it was to be an e3, sustained from the previous bar, in which the e3 minim is provided with an additional curved line. However, the curved line is not combined with the discussed note, hence we do not include this possibility, doubly hypothetical, in our system.  

category imprint: Source & stylistic information

issues: Errors of A

b. 135

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

e in Atut

E-e in FE (→GE,EE)
..

Chopin added the bottom note of the octave in the L.H. in the proofreading of FE (→GE,EE).

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 135

composition: Op. 16, Rondo in E♭ major

d1-b​​​​​​​1 in FE (→GE1,EE)

d1-b​​​​​​​1 in FEJ

e1-b​​​​​​​1 in GE2
..

The version of FE (→GE1,EE) with a d1-b1 sixth is most probably erroneous, which is indicated by a comparison with analogous bar 287, in which there is a fifth. It is also the change to d1-b1 written in FEJ that supports the thesis that the majority of the sources contain a mistake. At the same time, it was rather an e1-b1 fifth that corresponded to Chopin's original idea, since d1 in the second chord required the use of a . According to us, an additional argument in favour of a fifth is a characteristic juxtaposition of the c1-a1 sixth with the e1-b1 fifth (bars 117, 120, 125, 141), which appears a few times in this theme – wherever the melody features a1 and b1 against the A major and E7 chords. Taking into account the above, in the main text we give an e1-b​​​​​​​1 fifth. That version was introduced also in GE2. 

category imprint: Differences between sources; Editorial revisions

issues: Annotations in teaching copies , Errors in FE , GE revisions , Annotations in FEJ

b. 135

composition: Op. 22, Polonaise

Fingering written into FED

No teaching fingering
..

The entry performed in pencil in FED is poorly legible, particularly its part over the b2-g3 sixth. We give the most plausible interpretation thereof.

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , Annotations in FED