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b. 142

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

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In A, the gruppetto written with small quavers fills the 3rd crotchet of the bar. In GE (→FEEE), small notes started more or less one quaver earlier, which may suggest an erroneous rhythmic layout of the gruppetto.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in GE , Inaccuracies in A

b. 142-143

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

Slur in A, contextual interpretation

Slur in GE1 (→FEEE)

Slur in GE2

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The inaccurate slur of A, when interpreted literally, embraces only the group of small quavers and c2. However, the shape of the slur clearly suggests that it is supposed to reach bat the end of bar 142. The slur of GE1 (→FEEE) is certainly inaccurate, both in terms of the starting moment and the ending. GE2 corrected the ending of the slur only. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccurate slurs in A , GE revisions

b. 142

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

..

In the main text we add a cautionary  before c2.

category imprint: Editorial revisions

b. 142-144

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

No slur in FE (→EE1,GE1GE2)

Slur in bars 143-144 in EE2 (→EE3)

Slur in bars 142-144 in GE3

Slur in bars 142-144 suggested by the editors

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The missing slur is most probably an oversight in this case, attributed to Chopin or the engraver of FE (→EE1,GE1GE2), cf. an analogous phrase 4 bars later. The slur in bars 143-144 was completed in EE2 (→EE3), whereas in GE3 – over the entire semiquaver sequence. In the main text, we suggest the latter, provided that the authentic slur could have been led further, perhaps up to bar 146.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 142-144

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

No fingering in FE (→GE)

Fingering in EE

Fingering written into FEH

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Fontana's fingering given in EE almost certainly does not come from Chopin, since it is difficult to assume that Fontana could have had such precise, variant indications of the composer at his disposal. The authenticity of the fingering written by a foreign hand in FEH is also questionable. The basic scheme of both fingerings, considering the first variant of the fingering of EE, are in common with each other; the difference applies only to the beginning, which deviates from the scheme in Fontana's version.  

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FEH