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b. 221
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composition: Op. 21, Concerto in F minor, Mvt III
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The sustained F-f octave is the latest version, introduced by Chopin in the proofreading of FE (→EE). category imprint: Differences between sources |
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b. 221
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composition: Op. 16, Rondo in E♭ major
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It seems unlikely that Chopin would have wanted to change here a fixed accompaniment scheme with E category imprint: Differences between sources issues: Errors in FE , Terzverschreibung error , Errors repeated in GE , Errors repeated in EE |
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b. 221
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composition: Op. 11, Concerto in E minor, Mvt I category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , GE revisions , Omission of current key accidentals |
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b. 221-222
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composition: Op. 11, Concerto in E minor, Mvt I
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In GE, the bars are separated with a double bar line, which was a routine procedure while changing the key signature. In the main text, we preserve the undoubtedly authentic notation of FE (→EE) with a single bar line – Chopin's autographs prove that the composer generally did not use double bar lines at the time of changing the key (cf. e.g. the Mazurka in C major, op. 24, no. 2, bar 56). category imprint: Differences between sources issues: GE revisions |
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b. 221
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composition: Op. 11, Concerto in E minor, Mvt III
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In the main text, we include the entry in FED, whose authenticity is highly likely. The same digit – along a few more – is given also by FEH; in turn, EE has a different fingering in this part of the passage, maintaining the hand position from the 1st half of the bar. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Differences in fingering , Annotations in FEH |
suggested by the editors
raising d1 to d
1, overlooked in 
