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b. 257-258
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composition: Op. 21, Concerto in F minor, Mvt III
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In A, Chopin embraced this pair of bars with one slur, which he then clearly divided into two, in accordance with the slurring of similar pairs of bars in the three remaining fragments of this movement of the Concerto, built upon similar phrases (bars 177-182, 353-364 and 494-499). The fact that the division was not included in GE (→FE→EE) can be most probably explained by an arbitrary decision of the engraver of GE1. category imprint: Differences between sources issues: Inaccuracies in GE , Authentic corrections of GE , Triplet slurs |
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b. 257-260
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composition: Op. 21, Concerto in F minor, Mvt III
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In A there is no category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , Omission of current key accidentals , Inaccuracies in A |
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b. 257
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composition: Op. 21, Concerto in F minor, Mvt I
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In Morch Chopin added the first note of the bar in the trumpet and French horn parts, probably also in the trombone and timpani ones. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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b. 257-263
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composition: Op. 11, Concerto in E minor, Mvt I
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The original, then corrected, probably by Chopin, notation of the first note in bar 257 and of the following ones: category imprint: Corrections & alterations; Source & stylistic information issues: Authentic corrections of FE |
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b. 257
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composition: Op. 11, Concerto in E minor, Mvt I
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Like in bar 255, in the main text we give a long grace note on the basis of FE (→EE). The slashed grace note in GE is either an inaccuracy or routine revision. category imprint: Differences between sources issues: GE revisions |
lowering g1 to g
1 in bar 257 and both necessary flats in bar 260. The signs in bar 260 were added already in 
. Similar changes were introduced in bars 
