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b. 328

composition: Op. 16, Rondo in E♭ major

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category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in FE , GE revisions , Errors repeated in EE

b. 328

composition: Op. 2, Variations, complete

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In FE1 (→FE2) there are no ledger lines on the 2nd semiquaver of the 5th and 6th R.H. triplets. The noteheads are actually at the right pitch, yet the notation is misleading, particularly in the case of a2, which can be easily mistaken for a g2.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE

b. 328

composition: Op. 2, Variations, complete

d2-f2-d3 in AsI

d3-g2-f2 in A (→GE→FE)
..

As was the case with the 5th triplet in bar 325, here the 3rd triplet is presented in AsI in its initial form. In both places Chopin eventually opted for a more regular form of the figuration.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 329

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

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There is no  before the 3rd third in A (→GE→FE→EE1→EE2). Chopin's oversight is proved by a present both in the cello part in Morch and analogous bar 5. The sign was added in EE3, probably on the basis of the indicated analogy.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors of A

b. 329

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

 in A, literal reading

 in GE (→FE→EE)

 in A, contextual interpretation
..

According to us, the  indication is to be interpreted as valid already from the beginning of the bar. It is one of examples of the manner of introducing indications within the scope of their validity, used sometimes by Chopin, particularly in his earlier works. In GE (→FE→EE)  was most probably linked with the entrance of the L.H.  

category imprint: Differences between sources

issues: Inaccuracies in GE , Centrally placed marks , Inaccuracies in A