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b. 255
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composition: Op. 42, Waltz in A♭ major
..
GE1 has a superfluous cautionary category imprint: Differences between sources issues: Cautionary accidentals |
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b. 255
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composition: Op. 21, Concerto in F minor, Mvt I
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All minor differences in the range of this sign appearing in the editions are certainly of random nature. In this case, the sign certainly means a "very long" accent, hence shifts both in GE1 and GE2 distorted its sense. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , GE revisions |
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b. 255-256
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composition: Op. 21, Concerto in F minor, Mvt I
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In GE1 (→FE→EE) the slur is broken between the bars, in spite of the clearly combined slurs of A. category imprint: Differences between sources issues: Corrections in A , GE revisions |
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b. 255
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composition: Op. 21, Concerto in F minor, Mvt I
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The fingering coming probably from Chopin – compatible with the authentic fingering of the Etude in G category imprint: Differences between sources |
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b. 255-256
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composition: Op. 21, Concerto in F minor, Mvt I
..
A possibility that Chopin added such slurs in the L.H. in bar 256 in the proofreading of GE1 has to be firmly rejected. However, he could have added there the same slur as in the R.H., which was implemented by the engraver in a distorted form. It allows to confer a certain likeliness of authenticity on the slur of GE2. In the main text, we stick to the notation of A, since the need to perform the part of the L.H. with the same phrasing and articulation as in the R.H. is obvious here. The slurs of EE, being a completed version of the erroneous slurs of GE1 (→FE), are certainly arbitrary. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in GE , GE revisions |
next to g
1 on the 3rd crotchet. The sign was removed already in 
from 1st third in 
minor, Op. 25 No. 6, bars 
