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b. 217

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

F in A (→GE→FE→EE)

G suggested by the editors
..

At the beginning of the bar, we give G in the main text, present as the bass note in the orchestral part, Morch. It would be unthinkable that the F seventh placed in the bass would remain unresolved, moving on to C in the next bar, present in the double bass part. A possible reason for the erroneous presence of the F note in A is imagining only the solo piano part when writing A, in haste. In this case, the actual bass line (including pedalling) forms an A-G-F sequence:
.
The version with F may be considered an acceptable variant only when performing the piece without accompaniment.

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

issues: Errors of A

b. 217-218

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

d1 repeated in A (→GE→FE→EE1)

d1 tied in EE2 (→EE3)
..

The decision to sustain d1 in EE2 (→EE3) is an arbitrary addition of the revision of this edition.

category imprint: Differences between sources

issues: EE revisions

b. 217-218

composition: Op. 22, Polonaise

..

In the main text we add a cautionary  before b2 in b. 73. The accidental was already added in GE as well as in EE2. In addition, we add the flats (overlooked in FE) lowering c1 to c1 in b. 73 and c to c in b. 74. The former was added both in GE and EE, whereas the latter only in GE and EE2.

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

issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions , Errors repeated in EE

b. 217-218

composition: Op. 22, Polonaise

Vertical accents in EE

Horizontal accents in FE (→GE)
..

Arbitrary changes of accents to vertical ones are typical of EE – cf. b. 47-50. 

category imprint: Differences between sources

issues: EE revisions

b. 217-220

composition: Op. 44, Polonaise in F♯ minor

R.H. from b-d1 in GE

From d1-f1 in FE (→EE1), f1 repeated in bar 220

From d1-f1 in EE2, f1 tied up to bar 220
..

The traces of the changes introduced in print reveal that, initially, the version printed in FE was the same as in GE. While proofreading FE1, Chopin changed it to a version that is actually analogous to b. 197-200, yet without a tie to f1 in b. 219-220 in FE (→EE1), which must be an oversight, rectified in EE2 (→EE3). In the main text we give the version corrected by Chopin and include the undoubtedly right intervention of EE2.

category imprint: Differences between sources

issues: Authentic corrections of FE