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b. 180
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composition: Op. 21, Concerto in F minor, Mvt III
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Replacing the whole-bar slur of A with a slur embracing only the triplet is undoubtedly an arbitrary decision of the engraver of GE1 (→FE→EE). The authentic notation was restored in GE2. category imprint: Differences between sources issues: GE revisions |
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b. 180-181
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composition: Op. 11, Concerto in E minor, Mvt III
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The fingering visible in FEH was written here probably first by the pupil and then changed and completed. The correction, performed by a different hand than the original entry and similar to Chopin's handwriting, allows us to evaluate the authenticity of the later entry to be highly likely, hence we give it in the main text. category imprint: Differences between sources |
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b. 180
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composition: Op. 31, Scherzo in B♭ minor
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The indication according to which the endings of both trills are to be performed by the L.H. only was added in FED. category imprint: Differences between sources |
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b. 180-181
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composition: Op. 31, Scherzo in B♭ minor
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In spite of the lack of the ending of the slur in b. 181, which opens a new page in A, the clearly dragged ending of the slur in b. 180 leaves no doubt about Chopin's intention (there is a similar situation in analogous b. 631). However, it is not as obvious in FC, so in GE the slur was led only to the end of b. 180. The inaccurate notation of A was repeated unchanged in FE, whereas in EE the slur was clearly led to b. 181; moreover, an arbitrary analogous slur was added under the stave: see the note on pedalling in b. 179-180. category imprint: Graphic ambiguousness; Differences between sources issues: EE revisions , Inaccurate slurs in A , Uncertain slur continuation |
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b. 180-181
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composition: Op. 22, Polonaise
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In the main text we add a cautionary category imprint: Differences between sources; Editorial revisions issues: GE revisions |
before e
1 in b. 180 and a 
before d1 in b. 181. The accidental in b. 180 was added already in