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b. 185-186

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

..

In A there are no naturals before the bottom note of the octaves in the middle of bar 186 and at the beginning of bar 187. These patent inaccuracies were corrected already in GE1 (→FE→EE, →GE2).

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions

b. 185

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

Long accent under L.H. in A

Accents on 2nd & 3rd R.H. quaver in GE1 (→FE)

Accents on 1st & 3rd R.H. quaver in EE

Short L.H. accent in GE2
..

In the main text we give the notation of A, the only authentic according to us. The versions of editions are a sequence of cumulative mistakes, inaccuracies, misinterpretations and arbitrary changes:

  • the most plausible explanation of the additional accent in GE1 is an unfinished proofreading – the erroneously printed accent on the 3rd quaver was left in spite of adding the correct sign on the 2nd quaver (see also the note on rhythm in this place). Moreover, both signs were printed too high, so that they seem to apply rather to the R.H., contrary to Chopin's intention, who wrote the accent in A under the crotchet in the L.H.;
  • in FE both accents already clearly apply to the R.H.; the first one was placed inaccurately, between the 1st and 2nd quavers;
  • EE added its portion of inaccuracies and arbitrary decisions, as a result of which, instead of the long accent on the 2nd quaver in the L.H., as it is in A, the edition gives two vertical accents, over the 1st and 3rd quavers in the R.H.;

GE2 generally restored the notation of A.

category imprint: Differences between sources

issues: Long accents , EE revisions , Inaccuracies in FE , Errors in GE , GE revisions , EE inaccuracies , Partial corrections

b. 185

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

Crotchet in A

Quavers in GE (→FE→EE)
..

According to us, the version of the editions is a result of an unfinished proofreading of a mistake of GE1: as a result of the slightly inaccurate notation of A, the A-a octave was probably initially placed only on the 3rd quaver in the bar. The mistake was corrected, by adding an octave on the 2nd quaver and a tie of both notes, yet the tie of the bottom note was overlooked. In addition, such a scenario explains well the original reason of the excessive number of accents in this place.

category imprint: Differences between sources

issues: Errors resulting from corrections , Errors in GE , GE revisions

b. 185

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

 from 3rd quaver in A

 from 5. quaver in GE (→FE→EE)
..

The later started  sign is a typical inaccuracy of the engraver of GE1, who would adjust hairpins and slurs to beams or bars.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 185

composition: Op. 16, Rondo in E♭ major

B​​​​​​​ in FE (→EE1→EE2)

B in GE & EE3

B with ​​​​​​​ suggested by the editors
..

In GE, a  raising B to B​​​​​​​ was added, most probably arbitrarily, before the bottom note of the 2nd crotchet. The reviser of EE3 also added that mark, probably under the influence of GE. However, we believe that the  is not authentic, since avoiding a strict repetition of a progression's segments is characteristic of Chopin, cf. e.g. a nearly identical harmonic sequence in the Rondo in F Major, Op. 5, bars 438-440. In order to avoid misunderstandings, we add a cautionary  in this place. 

category imprint: Differences between sources

issues: EE revisions , GE revisions