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b. 187

composition: Op. 19, Bolero

..

There is a  over the trill in FE (→EE). It would make sense only if the trilled note were a c2, which is almost certainly erroneous in this case. Therefore, the sign was most probably added by the reviser of FE in the last phase of proofreading, since the  was not included in GE. 

category imprint: Differences between sources

issues: FE revisions

b. 187-193

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

No markings in sources

Pedalling suggested by the editors
..

In this context, the absence of pedalling markings undoubtedly indicates the use of the indications given in analogous figures in the previous bars, which is confirmed by the markings written by Chopin in the recapitulation (bars 542-547).

category imprint: Editorial revisions

b. 187-191

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

No fingering in FE (→GE)

Fontana's fingering in EE

Fingering written into FED

Fingering written into FEH in bar 188
..

Like at the beginning of this section (bar 179), Fontana's fingering coincides with the one indicated by Chopin during lessons.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FED , Annotations in FEH

b. 187

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

Slur from b2 in FE (→GE1→GE2)

Slur from b1 in EE & GE3
..

A comparison with the slurs of similar figures of this section (from bar 179) proves that the slur of FE (→GE1→GE2) is inaccurate, which, actually, could have had its origin in the careless notation of [A]. In the main text, we include the corresponding correction introduced in EE and GE3.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE , GE revisions

b. 187

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

Single note in FE (→GE,EE1→EE2)

Chord in EE3
..

The version of FE (→EE1) is doubly incomplete:

  • the missing  before the 1st quaver of the bar is a patent inaccuracy. The defect was corrected in all remaining editions;
  • there is no visible reason to reject repetition of the entire F major chord – the chord corresponds to the orchestral part composed from the parts of FEorch (→GEorch) and to the one written in MFrorch, while the motif of five repeated chords is reproduced accurately in all 9 analogous places. The chord was introduced only in EE3.

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

issues: EE revisions , Errors in FE , GE revisions , Omission of current key accidentals , Errors repeated in EE