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b. 219

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

 above staff in A

 between staves in GE (→FE)

No mark in EE
..

Moving the  sign under the stave and shifting it to the beginning of the bar must be arbitrary changes of GE (→FE). Both changes considered together impede the correct interpretation of this sign, which applies to the top notes of the figuration in the R.H., separated with additional crotchet stems. The absence of the sign in EE is probably a result of a revision – it was assumed that there is no need to double diminuendo signs. See also bar 220.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 219

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
..

All sources including respective indications define the same fingering. In the main text, like in the few previous bars, we give the indications written in FED.

category imprint: Differences between sources

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

b. 219

composition: Op. 22, Polonaise

..

Just like in b. 75, the sources are lacking in the  raising b to b, which is a patent inaccuracy.

category imprint: Interpretations within context; Editorial revisions

issues: Inaccuracies in FE , Errors repeated in GE , Errors repeated in EE

b. 219

composition: Op. 23, Ballade in G minor

No mark in sources

Accent suggested by the editors
..

In the three other occurrences of this bar – b. 217, 225 and 227 – the first f1 note is accentuated. Therefore, we consider the absence of an accent in this place to be Chopin's inadvertence.

category imprint: Editorial revisions

b. 220

composition: Op. 43, Tarantella

..

We add cautionary  before  f2 and g2 quavers in RH.

category imprint: Editorial revisions