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b. 241

composition: Op. 35, Sonata in B♭ minor, Mvt I

..

FE1 features an F1 as the bottom most note of the chord. The patent in this context mistake was corrected in FE2 (→EE,FE3→FE4). In GE1 the chord was also printed with a mistake, entirely omitting the correct bass note (the bottom most note is an F). The remaining sources include the correct version. 

category imprint: Differences between sources

issues: Errors in FE , Errors in GE , GE revisions , FE revisions

b. 241

composition: Op. 35, Sonata in B♭ minor, Mvt I

in GC

No sign in FE (→EE) & GE
..

Chopin omitted  signs quite frequently at the end of pieces. In this case, however, the oversights by the engravers of FE (→EE) and GE are more probable.

category imprint: Differences between sources

issues: Errors in FE , Errors in GE , No pedal release mark

b. 241-242

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

..

In bar 241 in A there is not any  raising d to d (in various octaves); there is also no  before the 1st quaver of the 2nd half of bar 242. These patent defects were gradually corrected in the editions: in GE1 (→FE) naturals were added before d and d2 in the 1st half of bar 241 and a sign in bar 242, while EE and GE2 added all remaining necessary naturals (in EE a  before d1 on the 6th quaver in bar 241 was repeated). See also bar 242, 243 and 244.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Omission of current key accidentals , Last key signature sign

b. 241

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

 & > in A

 &  in GE (→FE)

 in EE

 & > suggested by the editors
..

The  hairpin has arms of different length in A; however, one may safely assume that it reaches the 4th quaver in the bar. Therefore, the clearly shorter sign in GE (→FE→EE) is certainly inaccurate. What is more, the accent, falling in A on the 5th quaver in the L.H., was assigned to the R.H., extended and moved to the end of the 1st half of the bar (cf. bar 243). In the version of FE, the sign already looks like a second accent (under the note) on the 7th semiquaver in the R.H., which probably made the reviser of EE omit it.

In the main text we reproduce the signs of A, yet we lead  to the end of the 1st half of the bar, in accordance with the musical sense and the notation of analogous bars 243 and 245. 

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , Unclear hairpins in A , Inaccuracies in A

b. 241-246

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

poco - a - poco - cre - scen - do - in A

poco a poco cresc.  cresc. in GE1

poco - a - poco - cresc. - cresc. in FE

poco - a - poco - cre - scen - do in EE

poco a poco cresc.  cresc. - - in GE2
..

The poco a poco crescendo indication, carefully planned by Chopin over six bars in A, was reproduced in GE1 in a similar way, yet less logical and legible: dashes combining particular elements of the indication and showing its destination ( in bar 247) were overlooked and particular words were regrouped, by doubling the cresc. indication, which appears in bars 243 and 244. FE repeated the notation of GE1, adding – perhaps at Chopin's request – dashes between particular parts of the indication (in bars 241-244). The last notation was subject to further, seemingly logical changes in EE, as a result of which, however, the crescendo seems to be terminating in bar 244. The notation of GE2 is closest to Chopin's intention; it repeated the indications of GE1, yet adding dashes after the last cresc. until bar 247.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in GE , GE revisions , Authentic corrections of FE