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b. 236-237

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

Continuous slur in A (→GE1, contextual interpretation)

Separate slurs in FE (→EE) & GE2
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In GE1, the slur in bar 236, at the end of the line, indicates continuation, which, however, is not confirmed by the slur in bar 237. This ambiguous notation was interpreted contrary to the notation of A both in FE (→EE) and GE2. It is worth observing that the compliance of the slur of GE1 in bar 236 with A is a result of intense proofreading – originally, the entire line (bars 232-236) was provided with one-bar slurs. At the same time, the traces of the changes in bars 235-236 became so visible over time that GE1a was reengraved in this place. The oversight of the dashes marking the range of validity of the octave sign at the end of bar 236 was a side effect of this retouch. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Errors resulting from corrections , GE revisions , FE revisions , Corrected slurs of Op. 21 in GE1

b. 236-237

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

 in bar 237 in A (→GE→FE)

  in EE

Our variant suggestion
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In the authentic sources, there is no  sign after  in bar 235. It is probably an oversight, quite frequent at the end of a page (bar 236 is the last one on the page in A). The moment of pedal release was specified in EE, which, however, is almost certainly a routine revision. According to us, a different scenario is also possible: the  sign in bar 237 was written in A by mistake, without taking into account the context of the previous bars, based on the same chord. Performing bars 235-237 with one pedal sounds natural and is compatible with the   signs, improving the ascending and descending shape of the figuration in the R.H. Due to this reason, in the main text we leave the inclusion of pedal change at the beginning of bar 237 to the discretion of the performer.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , No pedal release mark

b. 236

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

..

In A (→GE1→FE) there is no  lowering g2 to g2. The patent inaccuracy was corrected in EE and GE2. EE added also a  before f3, unnecessary according to the rules of validity of accidentals back then.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Omission of current key accidentals , Inaccuracies in A

b. 236

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

No marks in FE (→GE,EE)

Strokes in FED, literal reading

Wedges in FED, possible interpretation
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We reproduce the four horizontal dashes written in FED, perhaps by Chopin, as wedges, since the Chopinesque wedges generally look like that in the autographs. However, it seems to be unlikely that Chopin would actually mean staccato in this place (not to mention staccatissimo). These marks are most probably to be interpreted together with the slur, as an indication of the portato articulation, close to the one the composer would usually mark with dots under a slur, e.g. in bar 231.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 236

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

 in FE (→EE,GE1→GE2)

No pedalling in GE3

  [] suggested by the editors
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The missing  mark in this place is to be considered an inaccuracy – in the main text, we add the mark in accordance with analogous bar 587. A  mark is placed in FE (→GE1→GE2) under the last quaver in bar 235, which results from lack of space under the low-placed bass note. In EE, the mark was placed in bar 236 over the L.H. part, whereas in GE3, the pedalling was overlooked.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in FE , GE revisions , No pedal release mark