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b. 217

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

..

The cautionary flat before d2 was added in GE (→FE→EE). In a similar context, Chopin would frequently write signs specifying the pitch of a note, compliant with the key, after previously raising it an octave lower. Therefore, it cannot be excluded that the addition comes from the composer.

The flat before the d minim in the L.H. was added by us. 

category imprint: Differences between sources; Editorial revisions

issues: Cautionary accidentals , Authentic corrections of GE

b. 217

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

Slur from 1st quaver in A & GE2

Slur from 2nd quaver in GE1 (→FE→EE)
..

The later started slur in the majority of the editions is a result of inaccuracy of the engraver of GE1 (→FE→EE).

category imprint: Differences between sources

issues: Inaccuracies in GE , GE revisions

b. 217-218

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

 in A

 in GE

 in FE (→EE)
..

Subsequent shortenings of the  sign in GE and FE (→EE) are certainly accidental. In the main text we reproduce the notation of A.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE

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
..

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