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b. 246
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composition: Op. 2, Variations, complete
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As was the case with a few other places in this tutti, the semiquavers in AsI are the initial version, present in this manuscript in the orchestral part too. Cf. bars 242 and 244 and 247-251. category imprint: Differences between sources; Corrections & alterations issues: Dotted or even rhythm |
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b. 247
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composition: Op. 43, Tarantella category imprint: Differences between sources issues: EE revisions , GE revisions |
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b. 247
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composition: Op. 21, Concerto in F minor, Mvt I
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The category imprint: Differences between sources issues: Inaccuracies in GE , fz – f |
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b. 247
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composition: Op. 21, Concerto in F minor, Mvt I
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It is difficult to say what the motivation of the reviser of GE2 was, while providing the chords at the beginning of the bar with staccato dots. Perhaps he assigned a dot over the crotchet in the cello part in Morch to the chord in the L.H., which is not entirely excluded. In any case, the sign in the R.H. is certainly absent in A. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions , Inaccuracies in A |
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b. 247
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composition: Op. 21, Concerto in F minor, Mvt I
category imprint: Differences between sources |
was added before f
2 in RH.
indication, appearing in the editions, seems to be completely accurate after a few-bar-long crescendo and could have been accepted by Chopin. However, it is most probably only a result of a misinterpretation of 
