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b. 191

composition: Op. 38, Ballade in F major

..

In GC the 7th semiquaver in the R.H. was erroneously combined with the group of semiquavers from the 1st half of bar. This also resulted in wrong slurring – the slurs embrace 7 and 5 semiquavers. GE did not repeat those errors.

category imprint: Source & stylistic information

issues: Inaccuracies in GC

b. 191

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

..

In A there are visible traces of deletion of the e1 note from the 3rd crotchet in the R.H. It is possible that c1 was added instead of the deleted note.

category imprint: Corrections & alterations

issues: Corrections in A

b. 191

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

c1-e1-a1 in A (→GE)

a-c1-a1 in FE (→EE)
..

The version of FE (→EE) is undoubtedly a Chopin improvement, introduced in the proofreading of FE1.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 191-192

composition: Op. 50 No. 3, Mazurka in C♯ minor

2 staccato dots in AI

3 dots in AF (→FE→EE)

5 dots in GE1

6 dots in GE2
..

The differences in the number of staccato dots do not entail a different performance, since in such a context marks over the R.H. also concern the L.H., while a missing dot over (AI) or under (GE1) a semiquaver is an inaccuracy of notation. In the main text we give the notation of GE2, which is consistent with contemporary editorial practices. 

category imprint: Differences between sources

b. 191-192

composition: Op. 50 No. 3, Mazurka in C♯ minor

in AI & AF (→FE→EE)
..

 in AF is written at the end of b. 191; it undoubtedly concerns the semiquaver that closes the bar too. This is how it was interpreted in FE (→EE), in which the indication was placed – in accordance with usual practices – slightly before the semiquaver. This is the notation we give in the main text. The notation of AI resembles the one of AF, although the indication is moved slightly to the right. In turn, in GE1 the greater part of  is already in b. 192, which was revised in GE2 by placing the entire mark in b. 192, as a result of which it seems to concern only the crotchets in this bar. It cannot correspond to Chopin's intention, who would sometimes use a previous manner of placing indications within and not at the beginning of their scope.  

category imprint: Differences between sources

issues: GE revisions , Centrally placed marks