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b. 109

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

Fingering written into FED

No teaching fingering
..  

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 109

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

..

The  raising d3 to d3, overlooked by Chopin in A, was added only in EE and GE2.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 109

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

 from 2nd beat in A

 from first beat in GE (→FE→EE)
..

The placement of the  sign in A is almost certainly an example of the manner of placing indications within and not at the beginning of their scope of validity, sometimes used by Chopin  – cf. e.g. 1st mov., bar 329. This is how it was interpreted already in GE1 (→FE→EE, →GE2).

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Centrally placed marks

b. 109

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

Fingering written into FES

Fingering written into FEH

No fingering in FE (→GE)

Fingering in EE
..

The fingerings of three sources, although marked differently, are completely compliant.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FES , Annotations in FEH

b. 109

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

No fingering in FE (→GE)

Fingering in EE
..

In this bar, differently than in analogous bar 105, the fingering added by Fontana in EE clarifies the combination of the scale sequence with the figure based on the broken chord.

category imprint: Differences between sources

issues: EE revisions