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b. 177

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

..

One can ponder whether the placement of the staccato indication only just in the 2nd half of the bar is not an example of the Chopinesque manner of placing indications within their range of validity. In other words, whether one should not perform the entire chromatic sequence in this bar staccato. According to us, no – such placed indication most probably means that the first few notes are to be performed legato and then the articulation is to be gradually changed, so that the last few notes are clearly performed staccato. There is a similar situation in bar 532.  

category imprint: Source & stylistic information

issues: Centrally placed marks

b. 177

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

Short accent in FE

No mark in GE

Long accent in EE
..

The missing accent in GE must be an oversight. The long accent in EE1 seems to be an inaccuracy, which EE2 (→EE3) tried to correct by shifting the mark slightly to the left. In such a context, it is highly likely that it is a long accent that corresponds to the notation of [A].

category imprint: Differences between sources

issues: Long accents , EE revisions , Errors in GE

b. 177

composition: Op. 16, Rondo in E♭ major

Fingering written into FEJ

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEJ

b. 177

composition: Op. 16, Rondo in E♭ major

Fingering written into FEJ

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEJ

b. 177

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

..

There are no accidentals before the 3rd quaver in FE (→EE,GE1→GE2), so that the notes should be interpreted as d1-f​​​​​​​1. The obvious mistake is indicated by the orchestral part, which features d1 (in violins II) both in the parts of FEorch (→GEorch) and MFrorch. A comparison with the reappearance of that theme, a second higher, also clearly supports d1, since the respective place (bar 421) features e1 and not e1. It is the first of a few serious mistakes of FE concerning the notation of the orchestral inserts of that theme – cf. bar 179, 186, 187.
The natural lowering d1 to d1 was added in GE3.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , GE revisions