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b. 141

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

No slur in A (→GE→FE)

Slur in EE
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The slur over the entire bar, added in EE, is probably inauthentic in this place. It was supposedly drawn from analogous bar 289, where its authenticity is also uncertain. 

category imprint: Differences between sources

issues: EE revisions

b. 141

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

6 dots in A & GE2

No marks in GE1

2 dots in FE (→EE)
..

All staccato dots in the part of the L.H. were overlooked in GE1. When proofreading FE (→EE), Chopin added signs only next to bass notes, which we consider his final decision. Analogous bar 289, whose regular notation of the part of the R.H. seems to be more mature, includes dots in the L.H. only under E and D.

category imprint: Differences between sources; Corrections & alterations

issues: Errors in GE , Authentic corrections of FE

b. 141-144

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

..

In the main text we give the version of A (→GE→FE→EE). However, Morch has a different rhythmic and articulation solution in the viola and cello parts:

.
Chopin most probably diversified this four-bar section in the versions for solo piano and with orchestra on purpose, taking into consideration the difference between the sound of piano and strings (it is the only case in both Concertos).

category imprint: Differences between sources; Source & stylistic information

b. 141-144

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

R.H. dots in A

Dots in both hands in GE1 (→FE→EE)

Dots in both hands in GE2

Dots in both hands suggested by the editors
..

In A, Chopin marked staccato only over the part of the R.H., which is undoubtedly valid for both hands in the context of this texture. In GE1 (→FE→EE), dots were printed only in bar 142, moved to the side of note heads (very frequent, routine intervention of engravers), and they were also added under the L.H. Oversight of the dots in bar 141 and 143-144 certainly stems from the engraver's carelessness, whereas addition of signs for the L.H. could have been ordered by Chopin. GE2 added the overlooked dots – in both hands – in bars 143-144. In the main text we present a similar solution, including signs on the last crotchet in bar 141.

category imprint: Interpretations within context; Differences between sources

issues: Placement of markings , Errors in GE , GE revisions , Authentic corrections of GE

b. 141

composition: Op. 19, Bolero

Fingering in FEO

No teaching fingering
 
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEO