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b. 117

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

Staccato dot in A & GE2

No mark in GE1 (→FEEE)

..

We consider the oversight of the staccato dot in GE1 (→FEEE) to be the engraver's mistake.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 117

composition: Op. 19, Bolero

..

In GE, there is no cautionary  before c1. It was most probably added in the last phase of proofreading of FE (→EE). Similarly, in bar 229.

category imprint: Differences between sources

issues: FE revisions

b. 117

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

Fingering written into FEH, probable reading

No teaching fingering

..

The fingering in FEH raises doubts concerning the interpretation of the first digit applying to e3. It seems that it is a '1,' but it would be inconsistent with the fingering of an identical place in bars 120-121 written in this copy – the 1st finger on the last gin bar 120 (116) implies another, most probably the 2nd finger on the next note (e3). The second finger on that ealso follows from the fingerings of the previous bar in other pupils' copies. The discussed doubt and contradictions make us omit this entry in the main text.

category imprint: Graphic ambiguousness; Differences between sources

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

b. 117-118

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

Fingering written into FED

Fingering written into FES

Fingering written into FEH

No teaching fingering

Fingering based on FED & FES

..

In the main text, we suggest the fingering of FED, extended with a complementary entry in FES in the ending of bar 117. In the first half of the bar, the interpretation of the digits in FED is impeded by corrections – one can see that initially it contained different digits that were then "converted" to the set we suggest. 

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Annotations in FES

b. 117

composition: Op. 16, Rondo in E♭ major

..

The fact that the slurs coincide in this place could have meant that Chopin wanted to combine them – cf. bars 276-277. However, in the main text we leave the source notation, since it is practically equivalent, whereas overlapping slurs in similar places appear also in bars 141, 269 and 293, which significantly reduces the likelihood that they were misinterpreted. 

category imprint: Source & stylistic information