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b. 133

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

Long accent on d2 in A

Short accent on d2 in GE

Short accent on a1 in FE

Vertical accent on a1 in EE
..

Differences in the placement of accents perhaps result from an ambiguous rhythmic notation, adopted from A – the engraver of FE, seeing an accent over the d2 minim, which, although placed over the d1 crotchet, is to be performed together with a1, placed the accent in the place of its validity (at the beginning of the bar). At the same time, he did not take into account the fact that having moved the sign over another note in fact changed its meaning, since in the quasi-polyphonic texture the sign generally concerns only one of the voices. In the main text we give the version of A.   

category imprint: Differences between sources

issues: Long accents , EE revisions , Inaccuracies in GE , Inaccuracies in FE

b. 133

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

No indication in A (→GE→FE→EE)

ten. in FED

Our variant suggestion
..

The ten. indication over the d2 minim was added by Chopin in FED.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 133

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

..

The g-e1 minim is devoid of extending dots in Atut. This patent mistake – e1 is, after all, extended to the next bar – was corrected already in FE (→GE,EE).

category imprint: Interpretations within context; Differences between sources

issues: Rhythmic errors , Errors of A , FE revisions

b. 133

composition: Op. 16, Rondo in E♭ major

Long accent in FE

Short accent in GE & EE
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In GE and EE, the accent mark was reproduced as a typical, short accent.

category imprint: Differences between sources

issues: Long accents , EE revisions , GE revisions

b. 133

composition: Op. 16, Rondo in E♭ major

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In EE1, there is no ending of the slur on a new line. The mistake was corrected already by the reviser of EE2.

category imprint: Differences between sources

issues: EE revisions , Errors in EE