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b. 217

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

Beginning of slur in A, contextual interpretation

Beginning of slur in GE (→FE→EE) 
..

The beginning of the slur of A is undoubtedly inaccurate; however, it is unclear from which note it was supposed to start, according to Chopin – from the 2nd f1 semiquaver, from the sustained e1 semiquaver or maybe even from the e1 crotchet, as it was interpreted in GE (→FE→EE). We adopt the second of the possibilities as the text of A due to a slightly similar situation in the previous bar. Being uncertain how A is to be interpreted, in the main text we give the unambiguous notation of the editions (equivalent to the one we adopted to A). 

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 217

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

F in A (→GE→FE→EE)

G suggested by the editors
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At the beginning of the bar, we give G in the main text, present as the bass note in the orchestral part, Morch. It would be unthinkable that the F seventh placed in the bass would remain unresolved, moving on to C in the next bar, present in the double bass part. A possible reason for the erroneous presence of the F note in A is imagining only the solo piano part when writing A, in haste. In this case, the actual bass line (including pedalling) forms an A-G-F sequence:
.
The version with F may be considered an acceptable variant only when performing the piece without accompaniment.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Errors of A

b. 217-218

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

d1 repeated in A (→GE→FE→EE1)

d1 tied in EE2 (→EE3)
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The decision to sustain d1 in EE2 (→EE3) is an arbitrary addition of the revision of this edition.

category imprint: Differences between sources

issues: EE revisions

b. 217-218

composition: Op. 22, Polonaise

..

In the main text we add a cautionary  before b2 in b. 73. The accidental was already added in GE as well as in EE2. In addition, we add the flats (overlooked in FE) lowering c1 to c1 in b. 73 and c to c in b. 74. The former was added both in GE and EE, whereas the latter only in GE and EE2.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions , Errors repeated in EE

b. 217-218

composition: Op. 22, Polonaise

Vertical accents in EE

Horizontal accents in FE (→GE)
..

Arbitrary changes of accents to vertical ones are typical of EE – cf. b. 47-50. 

category imprint: Differences between sources

issues: EE revisions