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b. 202

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

Grace note in A (possible reading)

Crotchet in A (probable reading→GE)

Dotted minim in FE

Semibreve in EE
..

In A it is unclear what the rhythmic value of the c2 note is – it can be considered a crotchet or a slashed grace note. We regard the first possibility as the more likely one, since the corresponding note in the oboe and clarinet parts in Morch has the same value. If we were to consider c2 a grace note, it would be difficult to explain why the remaining notes in the R.H. are written as the bottom voice (with stems pointing downwards); moreover, the slash of a grace note is usually led from bottom to top and from top to bottom.
The dotted minim in FE is most probably a result of a revision – the change was performed in the moment when the note was preceded by the erroneous flat, which Chopin would have certainly noticed. In turn, one can imagine a reviser checking the rhythmic correctness of the notation, who would not be considering the sound of the chord.
Another extension of this note in EE is certainly an editorial revision.

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , FE revisions , Inaccuracies in A

b. 202

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

Tied f1 in FE (probable interpretation→GE)

Tied c1 in EE
..

The tie between the minim and the crotchet is placed in FE (→GE1→GE2) at the pitch of d1, so it may apply both to c1 and f1. Both versions are possible; however, in the main text, we choose it to be a tie of f1 due to a rhythmic analogy with bar 198 – playing the bass note on the 3rd beat of the bar.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE

b. 202

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

No rest in FE (→EE,GE1→GE2)

Rest in GE3
..

In GE3, a crotchet rest was added over the chord in the L.H. on the 3rd beat. However, according to us, analogy with bar 198, which was probably taken into account, is only approximate and does not justify this addition, since a can be considered to be a continuation of the top voice.

category imprint: Differences between sources

issues: GE revisions

b. 202

composition: Op. 22, Polonaise

No f on 3rd beat in sources

Tied quaver f suggested by the editors
..

In the main text we add an f quaver (tied) on the 3rd beat of the bar, by analogy to b. 20 and 164.

category imprint: Editorial revisions

b. 202-213

composition: Op. 22, Polonaise

..

From b. 186 to b. 219, the text of FE, encompassing pp. 17-18, is identical to b. 42-75 (pp. 9-10), since it was only two plates that were used to print these four pages in FE, out of which each was provided with double pagination.

category imprint: Source & stylistic information