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b. 226
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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GE omitted the category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , EE inaccuracies |
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b. 226
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composition: Op. 21, Concerto in F minor, Mvt I
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All accents in the part of the R.H. are clearly long in A, which was not reproduced in GE1 and the remaining editions. We discuss the last one separately due to the differences in its placement. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in GE , Inaccuracies in FE |
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b. 226
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composition: Op. 21, Concerto in F minor, Mvt I
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Placing the accent over the second of the last group of semiquavers in GE1 (→FE) may be considered a common mistake, if it were not for the fact that putting an accent exactly on f1 emphasises the second motif (in this case g category imprint: Differences between sources; Corrections & alterations issues: EE revisions , GE revisions , Authentic corrections of GE |
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b. 226
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composition: Op. 21, Concerto in F minor, Mvt I
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In the main text we suggest completing the pedalling after authentic indications in analogous bars 230, 234, 236, 238 and 240. category imprint: Editorial revisions |
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b. 226
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composition: Op. 21, Concerto in F minor, Mvt I
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Additional slurs of GE1 (→FE→EE) are certainly an arbitrary decision of the engraver, who considered their absence to be Chopin's mistake. GE2 removed both the slurs added in GE1 and those drawn from A. The revision may be regarded as justified – the bottom short slurs in A may be a remaining part of the original notation, eventually replaced with longer slurs, embracing two-bar waves of semiquavers. However, in the main text we stick to the notation of A. category imprint: Differences between sources issues: GE revisions |
sign. It resulted from a misreading of 
indication (see one of the earlier notes). Curiously, The error was overlooked by 
placed later in this bar.
1-f1), repeated then – and accented – in all further appearances of a similar figuration (bars 230, 234, 236, 238 and 240). It would implicate Chopin's proofreading and perhaps even a mistake of the composer in 
