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b. 284-285

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

Slur from f2 in A

Slur from e2 in GE (→FE→EE)
..

The earlier beginning of the slur in the editions may be a result of the Chopin proofreading of GE1. However, not being certain thereof, in the main text we give the version of A.

category imprint: Differences between sources

issues: Authentic corrections of GE

b. 284-286

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

3  in FE (→EE)

 in bar 285 in GE1 (→GE2)

3  in GE3
..

In GE1 (→GE2), there is only one  in bar 285 instead of three subsequent  marks. There are no doubts that it is a mistake; however, it remains a mystery how such an accumulation of mistakes occurred (moreover, three out of four  in analogous bars 299-302 were overlooked). Perhaps some of them, e.g. those in bars 299-302, were added only just in the last proofreading of FE. GE3 added  in all five bars devoid of the marks.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 284

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

No sign in sources

[] suggested by the editors
..

A comparison with the adjacent bars suggests that the  hairpin was overlooked here by mistake. The reason could have been, e.g. the graphic layout, in which the final semiquavers in the L.H. are written on the upper stave, as a result of which there was simply not enough space to insert a hairpin. In turn, it seems to be unlikely that the reason could have been the presence of cresc., since Chopin considered  marks and cresc. indications independently – cf. e.g. the next bar. Therefore, in the main text, we suggest adding a  hairpin after the adjacent bars (averaging its range).  

category imprint: Editorial revisions

b. 284-286

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

Wedge in bar 284 in FE (→EE,GE1→GE2)

No mark in GE3

Wedges in bars 284-286 suggested by the editors
..

The absence of the wedge in GE3, purposeful or accidental, indicates the need to authenticate the single mark in FE (→EE,GE1→GE2). Therefore, in the main text, we suggest wedges also in the next two bars, materialising the model's idea Chopin most probably had at the time of inserting the mark in bar 284. An identical piano grip and repeated  marks leave no doubt as to the performance manner of those broken chords, i.e. each time the same.

category imprint: Differences between sources; Editorial revisions

issues: Errors in GE

b. 284-286

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

Fingering written into FEH

No teaching fingering
..

The entries in FEH, probably performed by the pupil's hand, develop the basic fingering idea contained already in bar 283 – the use of the fingers 2 and 1 on the last two semiquavers of each bar.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH