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b. 269-273

composition: Op. 42, Waltz in A♭ major

No markings in FE & EE

 &  in FEG (→GE)
..

Chopin added the indications  in bar 269 and  in bar 273 in FEG (→GE). In the remaining sources, FE and EE, the dynamic marks in the ending of the piece appear only in bar 277.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of GE

b. 269-271

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

No slur in A

Slur in bar 269 in GE (→FE)

2 slurs in EE

Slur in bars 269-271 suggested by the editors
..

The absence of the slur in the L.H. in A must be considered an inaccuracy of notation. Chopin may have wanted to add a slur in GE1, but only a fragment of it was printed in bar 269 – the slur suggests a continuation, yet in bar 270, on a new line, there is no continuation. Both in FE (→EE) and GE2 the slur was interpreted as embracing only three crotchets in bar 269. Moreover, EE added also an arbitrary slur from the last crotchet in bar 270 to the third third in bar 271. In the main text we suggest a slur analogous to bars 1-3.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 269

composition: Op. 11, Concerto in E minor, Mvt I

..

The mark written in FED underlines the significance of the rest and, consequently, it suggests the need to emphasise the syncopation as the beginning of a new motif of a probably different emotional nature.

category imprint: Source & stylistic information

issues: Annotations in teaching copies , Annotations in FED

b. 269-270

composition: Op. 11, Concerto in E minor, Mvt I

Short accent in FE (→EE)

Long accent in GE1 (→GE2)

Short  in GE3

Long accent suggested by the editors
..

Interpretation of the mark of FE (→EE) is unclear. When interpreted literally, it is a short accent under a tied note, which does not make sense on the piano. According to us, the course of music suggests a long accent on the syncopated g1-g2 octave as the most likely interpretation of this mark. Alternatively, one could also consider it a diminuendo mark, like it was performed in GE3. The presentation autograph of the Etude in A minor, op. 10 no. 2 abounds in marks of a not very clear meaning resembling short or long accents. Some of them almost certainly denote long accents, which substantiates such an interpretation. See also the adjacent note.

category imprint: Interpretations within context; Editorial revisions

issues: Long accents , Inaccuracies in GE , GE revisions

b. 269

composition: Op. 11, Concerto in E minor, Mvt I

No fingering in FE (→GE)

Fontana's fingering in EE
..  

category imprint: Differences between sources

issues: EE revisions