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b. 117

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

Staccato dot in A & GE2

No mark in GE1 (→FE→EE)
..

The missing staccato dot is an oversight of GE1 (→FE→EE). See also bars 116-117.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 117-118

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

..

None of the sources returned b1 in bar 117 and b2 in bar 118, which is a patent oversight. In turn, EE added cautionary flats before the next semiquaver in both bars, b2 and b3 respectively. We include the second of the signs in the main text.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Omissions to cancel alteration , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 117-120

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

Slur in bar 117 in  A, literal reading

Slur in bars 117-118 in GE

2 slurs in bars 117-120 in FE (→EE)

Slur in bars 117-120 suggested by the editors
..

The slur of A cannot correspond to the intention of Chopin, who probably interrupted drawing the slur due to lack of space – due to deletions in the part of the R.H. its final version was written on an adjacent stave, as a result of which its topmost elements already reach the viola part. Moreover, it cannot be excluded that the composer considered the octave sign to be a continuation of the slur (cf. a similar situation in the Etude in E major, op. 10 no. 11, bars 40-42). GE (→FE→EE) embraced with a slur bars 117-118, which is probably a result of Chopin's proofreading. A slur added in bars 119-120 in FE (→EE) is probably an authentic addition too. These possible corrections indicate, according to us, that the intention was to embrace with a slur the entire four-bar section, same as in bars 85-89, 93-96 and 109-112. Division of the slur between bars 118 and 119 is almost certainly a result of distraction related to the transition to a new page both in A and in GE (→FE). Due to this reason, in the main text we suggest one slur over these bars. 

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Inaccurate slurs in A , Authentic corrections of FE , Authentic corrections of GE

b. 117-120

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

No  in A (→GE→FE)

 at end of bar 117 in EE

[] suggested by the editors
..

The absence of the  sign in A (→GE→FE) can be a mere oversight, related to the transition to a new page in A (from bar 119). It is also possible that Chopin omitted this sign due to the use of the so-called diminuendo pedal (gradual release of pedal) – cf. e.g. the 1st mov., bar 300. The  sign added in EE is almost certainly inauthentic – cf. authentic pedalling in bars 93-94 and 109-110 (and even 85-86). Taking into account the fact that the chord in the discussed bars, being the base of the passage, does not change after two bars, we deem it to be likely that Chopin had in mind a situation in which the sound would die away longer, sustained with pedal, which is expressed by the addition of a  sign suggested by us in bar 120.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , No pedal release mark

b. 117

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

Slur from 2nd beat in A & GE2

Slur from first beat in GE (→FE→EE)
..

Starting the slur from the beginning of the bar in GE1 (→FE→EE) is almost certainly an inaccuracy, characteristic for the engraver of this edition. GE2 restored the text compliant with the Chopin notation.

category imprint: Differences between sources

issues: Inaccuracies in GE , GE revisions