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b. 211-212

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

Slurs from d2 in A

Slurs from a1 in GE

Slurs from f2 in FE (→EE)

Our alternative suggestion
..

In the main text we give the slurs of A, since the changes appearing in GE and FE (→EE) are almost certainly a result of a routine, schematic interpretation of slurs by the engraver of GE1 and inaccuracies of FE.

The alternative interpretation of the slur beginning in bar 212 suggested by us comes from an observation that in A the beginning of the slur falls over a deleted note, probably f2, which may mean that after having performed the correction, Chopin did not control the correctness of the slurring.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Inaccuracies in GE , Inaccuracies in FE , Corrections in A , Errors resulting from corrections

b. 211

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

..

In the main text, at the beginning of the bar, we add a cautionary  also in the R.H. We also add a  before the 4th semiquaver, f3, and a  before the 9th semiquaver, a3. The latter was introduced already in GE and EE2 (→EE3). 

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions , Cautionary accidentals

b. 211-212

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

No sign in FE (→GE,EE)

[] suggested by the editors
..

Chopin did not specify the moment of pedal release; he probably meant its gradual release, the so-called diminuendo pedal. Such notation is to be found on a number of occasions in his works, cf. e.g. the Etude in D major, op. 25, no. 8, bar 27 or the Concerto in F minor, op. 21, the 1st mov., bars 299-300. In the main text, we suggest a mark more or less in the place where mixing subsequent chords dominates the echo of the bass B1-B octave. 

category imprint: Editorial revisions

issues: No pedal release mark

b. 211-212

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

6  in FE (→GE,EE)

6 long accents suggested by the editors
..

Six consecutive  signs visible in FE (→GE,EE) can denote only long accents in this context. In the group of the first pieces published by Chopin in Paris, long accents, whose meaning the engravers generally did not understand, would be often deformed – cf. e.g. the Etude in A minor, op. 10, no. 2, bar 12 (a similar context to the one of the discussed place of the Concerto is to be found in the Etude in C major, op. 10, no. 1, bars 69-70).

category imprint: Interpretations within context; Editorial revisions

issues: Long accents

b. 211-231

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

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category imprint: