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b. 143

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

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GE1 (→FE1) has G as the 1st quaver. Chopin corrected this mistake in the proofreading of FE2 (→EE). The correct version was introduced also in GE2. 

category imprint: Differences between sources

issues: Errors in FE , Errors in GE , GE revisions , Authentic corrections of FE

b. 143

composition: Op. 19, Bolero

g2 in FE (→EE)

f2 in GE
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In the main text we give g2 present in the base source, i.e. FE (→EE). The authenticity of this version is supported both by source arguments – Chopin did not question this note both in the proofreading of FE and in any of the pupil's copies – and stylistic ones – cf. similar passages in other compositions by Chopin, e.g. in the Sonata in B minor, op. 58, 1st mov., bar 19. The f2 note was probably introduced in the proofreading of GE, replacing g2 of the version of FE; however, one does not know whether it was performed by Chopin. 

category imprint: Differences between sources

issues: Authentic corrections of GE

b. 143

composition: Op. 19, Bolero

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In FE, there is a visible trace of removal of a superfluous cautionary  next to c1.

category imprint: Source & stylistic information

issues: FE revisions

b. 143-147

composition: Op. 19, Bolero

Fingering in FEO
 

No teaching fingering
 
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In the main text, we give a fingering coming probably from Chopin, added in pencil in FEO under the last and first quavers in the L.H.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEO

b. 143

composition: Op. 16, Rondo in E♭ major

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The cut of the bars after the fermata is present in FE (→GE,EE) and was most probably present already in [A]. We reproduce it in the main text, since it was certainly intended by Chopin and has a musical meaning – it emphasises the fermata and the following change of character (a tempo, , dolce). There is a similar situation in bar 290.

category imprint: Source & stylistic information