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b. 310

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

No mark in sources

Staccato dot suggested by the editors
..

In the main text we suggest adding a staccato dot over the 1st quaver in the bar by analogy with the previous bar as well as taking into account the staccato in the identical figure in bar 160.

category imprint: Editorial revisions

b. 310

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

..

The natural raising a to a is written in A with pencil. The sign clearly differs from both typical Chopinesque naturals and the signs added in bar 314 (as well as from the  written with pencil in the part of the clarinet I in Morch in this place). Moreover, a denser text in GE1 suggests that in this edition a corresponding sign was added only in the proofreading. Therefore, it may be one of the later, foreign additions – cf. bar 256.

category imprint: Interpretations within context; Differences between sources

issues: Foreign hand additions in manuscripts , Omission of current key accidentals , Errors of A , Authentic corrections of GE

b. 310

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

Fingering written into FEFo

No teaching fingering
..

In the main text, we do not give here the fingering of FEFo, most probably coming from Chopin, since we have already included a version of that entry, expanded with one digit, in analogous bar 294. 

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEFo

b. 310

composition: Op. 16, Rondo in E♭ major

Slurs in FE (→GE,EE)

Slur suggested by the editors
..

category imprint: Editorial revisions

issues: Triplet slurs

b. 310

composition: Op. 31, Scherzo in B♭ minor

Slur in A (→FC→GE)

No slur in FE (→EE)
..

The slur under the 2nd and 3rd crotchets, the only one in the L.H. part in both appearances of the C minor theme (except for b. 325 and analog.), can be considered a model entry, to be applied in all similarly structured figures. However, according to us, it is more likely that the slur was left as an inconspicuous remnant of the quest for the most proper way of marking that accompaniment. The slurs are visible both in the original version of b. 310-311, deleted in A, and in analogous b. 412-415, where the four-bar phrase mark was also deleted. On the basis thereof, one can assume that Chopin eventually abandoned the idea of slurs in this part, satisfied with the legato indication, repeated a few times (in b. 326, 412 & 428). The absence of the slur in FE (→EE) is probably an oversight of the engraver, yet taking into account the above observations, this version can be considered equivalent. 

category imprint: Differences between sources

issues: Errors in FE