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b. 255
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composition: Op. 21, Concerto in F minor, Mvt III
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The absence of the slur in A is probably Chopin's oversight. The bar is the first one on a new page, and the notation reveals distraction, probably following from haste – there is also no staccato dot under G category imprint: Differences between sources issues: Authentic corrections of GE |
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b. 255
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composition: Op. 21, Concerto in F minor, Mvt III
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No articulation markings in this bar points to possible Chopin's oversight in A. category imprint: Differences between sources issues: GE revisions |
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b. 255
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composition: Op. 11, Concerto in E minor, Mvt I
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In the main text, we include the characteristic Chopinesque indication, requiring the grace note to be performed simultaneously with the corresponding note in the L.H.
See the Nocturne in D category imprint: Differences between sources |
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b. 255
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composition: Op. 11, Concerto in E minor, Mvt I
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The slashed grace note in GE is most probably a revision or maybe an inaccuracy. In the main text, we preserve the notation of FE (→EE), which is probably authentic. There is a similar situation in bar 257. category imprint: Differences between sources issues: GE revisions |
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b. 255-256
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composition: Op. 16, Rondo in E♭ major
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In FE, there is no beginning of the slur in the L.H. in bar 255 (the last bar in the great stave) – there is only its ending in bar 256 (the first bar in a new line). It was corrected both in GE and EE. category imprint: Interpretations within context; Differences between sources; Source & stylistic information issues: EE revisions , Inaccuracies in FE , GE revisions , Uncertain slur continuation |
in this bar and treble clef in the next one. Due to this reason, in the main text we give this slur, although the authenticity of the addition introduced in 
