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b. 113-114

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

No indication in A (→GE→FE→EE)

cresc. written into FED, probable reading

dim. written into FED, possible reading

Our variant suggestion
..

The not too legible entry in FED is most probably a dynamic marking with a determined range of validity. According to us, it is probably cresc., yet dim. also seems to be possible.

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 113

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

..

In A a  before the bottom note of the octave in the L.H. at the beginning of the bar is missing, as well as before the 3rd semiquaver in the R.H. in the 2nd half of the bar (d1). In turn, Chopin repeated a  before B, the 2nd semiquaver in the L.H. In GE1 (→FE) only the missing  before the octave was added, while in EE and GE2 – both necessary naturals. Moreover, EE3 added a cautionary  before b in the L.H. in the 3rd group of semiquavers; the sign was also added in FED. In the main text we add two necessary naturals and we remove the superfluous sign before the 2nd semiquaver in the L.H.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FED , Accidentals in different octaves , GE revisions , Cautionary accidentals , Inaccuracies in A

b. 113-115

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

..

In bars 113 and 115 Chopin overlooked naturals raising d3 to d3. This patent mistake was not rectified in any of the editions.

category imprint: Interpretations within context; Editorial revisions

issues: Omission of current key accidentals , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 113

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

f2 in FE (→GE,EE)

e2 in FES
..

The change of f2 to e2, written in FES, restoring the regular structure of figurations, may be considered an alternative variant suggestion in relation to the printed version, which could be supported by the lack of a corresponding correction in the remaining pupils' copies. According to us, it is, however, more likely that the change is of a definitive nature or that it is simply a correction of a mistake – the piano performs a figurative background for the theme; in this final section, heading for the coda, this background is based on gently waving passages of a rather schematic structure. 

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , Errors in FE , Annotations in FES

b. 113

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

Slur over 6 notes in FE (→EE,GE1→GE2)

Slur over 9 notes in GE3
..

The traces of corrections in print visible in FE prove that both in this bar and in analogous bar 111, it was only the last semiquaver triplet in the L.H. that was originally encompassed with a slur. In both places, Chopin prolonged the slurs; however, in the discussed bar, the proofread slur did not encompass the first triplet in the 2nd half of the bar. Taking into account the fact that in the final fragment of this movement of the Concerto, filled with triplets, articulation in all the remaining semiquavers is defined with slurs and staccato marks, the fact of leaving one triplet without markings prompts us to suspect a mistake at the time of implementing this proofreading (the mistake could have been provoked by the misplaced  mark). Therefore, in the main text we suggest a longer slur, modelled after unequivocal bar 111. Such a change was introduced in GE3.  

category imprint: Editorial revisions; Corrections & alterations; Source & stylistic information

issues: Authentic corrections of FE