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b. 371

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

..

In FEH, the bottom F minim is crossed out. Like in a few other cases, it is just an additional reminder that the note should not be played and not an actual abandonment of the tie, according to us. Such a transfer of the bass note while preserving a common note is one of the characteristic Chopinesque procedures, c.f. e.g. bars 360-363 i 368-369 as well as the Etude in C Major, Op. 10 No. 1, bars 49-50 and 65-66 or the Fantasy in A Major, Op. 13, bars 114-119.

category imprint: Source & stylistic information

issues: Annotations in teaching copies , Annotations in FEH

b. 371

composition: Op. 2, Variations, complete

c4 in A (→GE→EE,FESB) & FE2

b3 in FE1
..

The version of FE1 is a mistake by the engraver, as evidenced by the compliant text of the remaining sources, including FE2, in which the mistake was corrected, probably at Chopin's request.

category imprint: Differences between sources

issues: Errors in FE , Authentic corrections of FE

b. 371

composition: Op. 2, Variations, complete

3 wedges, 2 dots in A

6 wedges in GE (→FE,EE,FESB)

3 wedges, 3 dots, our alternative suggestion
..

In the main text we reproduce strictly 5 differentiated staccato marks written in A. The version of the editions most probably resulted from a double revision of GE1 – the marks having been standardised (see bars 271-272) and a wedge having been added over the 6th quaver. Leaving the last quaver without a mark can actually be considered Chopin's oversight, hence the addition of the wedge, judging from its different shape, introduced only just in the stage of proofreading GE1, can be seen as Chopin's intervention. The use of a wedge instead of a dot would be then a compromise taking into account the reality of an already printed proof copy including wedges only in this bar.

category imprint: Differences between sources

issues: GE revisions , Wedges

b. 372-373

composition: Op. 39, Scherzo in C♯ minor

..

 In GC G-g and A-a are erroneously the last octave in b. 372 and the first in b. 373. The obvious error of the copyist was corrected in GE. We find the correct version in the remianing sources too.

category imprint: Source & stylistic information

issues: GE revisions , Errors of GC

b. 372

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

No mark in A (→GE→FE)

Short accent next to  in EE

Long accent suggested by the editors
..

According to us, the course of the music suggests a possible change of the performance manner of these motifs only from the next bar. Therefore, in the main text we suggest adding an accent in the discussed place.
In this place, EE, same as in all similar bars of this section, features a short accent attached to the  under the octave – see bars 269-275.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions