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b. 137
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composition: Op. 21, Concerto in F minor, Mvt III
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In the main text we suggest adding information about the instrument playing the solo melodic figuration. A relevant indication was added already in EE. category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 137-138
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composition: Op. 11, Concerto in E minor, Mvt I
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The long accent in bar 137 is Chopin's well thought-out decision – visible traces of corrections (erasures) suggest that the composer initially wrote a category imprint: Corrections & alterations; Source & stylistic information issues: Long accents , Corrections in A |
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b. 137-138
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composition: Op. 16, Rondo in E♭ major
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In FE (→GE,EE), the slur begins from the 1st note of bar 138, in spite of the fact that at the end of the previous bar (a line above) the slur clearly points to a continuation. In two previous similar places (bars 113-114 and 121-122), the slur over the bar line is combined and separated, respectively. Interestingly, in FE, it is exactly the same when the theme returns – a continuous slur in bars 265-266, a separated slur in bars 273-274 and an ambiguous one in bars 289-290. However, in the case of the latter, the slur begins on the last quaver of the bar, which practically excludes an interpretation other than a continuous slur. In the case of the discussed bar, it also allows us to tip the scales in favour of a continuous slur. category imprint: Graphic ambiguousness; Editorial revisions issues: Inaccuracies in FE , Uncertain slur continuation , Errors repeated in GE , Errors repeated in EE |
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b. 137-140
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composition: Op. 11, Concerto in E minor, Mvt III
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From bar 137 onwards, hence without a sensible relation to music, the staccato marks, with which FE (→EE,GE1→GE2) provided the bass quavers, change from wedges to dots. It applies to bars 137-138 and 140, since the marks we would expect in bars 141-142 do not appear in that sources (see the note on those bars; moreover, the first quavers in bars 138 and 140 are discussed separately). According to us, the change of marks is probably a result of an inaccurate interpretation of [A]. Due to this reason, in the main text we continue marking those quavers with wedges. Such a unification was introduced also in GE3 (to a lesser extent due to omissions of marks in bars 138 and 140). category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , GE revisions , Wedges |
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b. 137-169
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we give the staccato markings in b. 137, 145, 161 and 169 on the basis of the homogenous notation of FC. The alternating wedges and dots in A indicate Chopin's inaccuracy: the unquestionable wedge in b. 161, along with the notation of A in b. 5-37, make us consider the wedges to be probably intended. The omission of the markings in FE (→EE) must be a mistake, whereas the double dots in GE – a revision (there is no top dot in b. 169 in GE2, which is a patent oversight). category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE , Errors in GE , GE revisions , Wedges , Inaccuracies in FC |
mark leading to the chord in the next bar. The orchestral parts are also provided with an accent in bar 138 (violins and cellos) or indeed a 
