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b. 201-202

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

Slur in A

2 slurs in GE (→FE→EE)
..

In this case, it is difficult to consider the slurs of GE (→FE→EE), contrary to the unambiguous slur of A, to be a schematic distortion, typical for GE1, since they correspond to the motifs of which the phrase is built, and not to the metric units. However, a possible proofreading by Chopin is uncertain, since there are no traces of corrections in any of the few studied copies of GE1 and GE1a. 

category imprint: Differences between sources

issues: Authentic corrections of GE

b. 201-202

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

g1 tied in A

g1 repeatec in GE (→FE→EE)
..

Similarly as in bars 199-200, the tie of g1 was interpreted in GE (→FE→EE) as a phrase mark, combining the c1-e1 minim in bar 201 with g1 in bar 202. One has to admit that the notation of A is unclear in this case, even if we consider the Chopin way of notation of ties – Chopin wrote the part of the tie falling in bar 201 longer than usual, as he probably wanted to make the notation more legible. However, it was counterproductive: the beginning of the "longer" tie does not reach g1 anyway and it points to e1. The correct interpretation of the tie is indicated by the shape of its ending in bar 202, typical for ties, and the tie of g1 in the 1st violin part in Morch.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , Errors in GE

b. 201-202

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

..

In the main text we add cautionary flats before b in bar 201 and e1(2) in bar 202.

category imprint: Editorial revisions

b. 201

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

 in A, contextual interpretation

 in GE & EE2 (→EE3)

No pedal markings in FE (→EE1)
..

The  sign is written in A before the b minim, which may have mislead the engraver of GE1; however, nothing indicates that Chopin's intention would be pressing the pedal from the beginning of the bar. From the practical point of view, pressing the pedal in the middle of the bar is the only solution enabling to clearly hold the c-b-c1-e1 chord during the entire 2nd half of the bar. The absence of pedalling in FE (→EE1) is most probably a result of an oversight.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Inaccuracies in GE , Inaccuracies in A

b. 201-211

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

..

In A there are visible deletions of the endings of the slurs over the staccato dots in bars 201-204. Instead of them, Chopin added new, shorter endings below, reaching the note heads. The aim of these corrections remains unclear, perhaps the goal was to graphically emphasise the dots. For the second time, in bars 209-212, the composer wrote the slurs already in the "new" way, except for bar 211, in which one can see a correction described above, although without deletion of the original ending.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A