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b. 253-254

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

1 slur in A & GE2

2 slurs in GE1 (possible interpretation→FE→EE)
..

The inaccurate, ambiguous notation of GE1 – the slur in bar 253, the last one in line, indicates a continuation, yet it is not confirmed by the beginning of the slur in bar 254 – was interpreted in FE (→EE) as separated slurs.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE

b. 253-255

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

No L.H. slurs in A (→GE1→FE)

2 slurs in EE

1 slur in GE2
..

The slurs in the L.H., added in EE and GE2, cannot be authentic, since Chopin did not participate in the creation of those editions. The need to add slurs in the L.H. could have been provoked by the slurs added in GE1 in bar 256.

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 253

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

 at end of bar in sources

 at beginning, suggested by the editors
..

While writing , Chopin probably used a former convention, according to which a sign was put near to the middle of the range of its validity (in this case bars 253-254). This kind of notation is probably to be found in, e.g. the Etude in C major, op. 10 no. 1, bar 45.

category imprint: Interpretations within context; Editorial revisions

issues: Centrally placed marks

b. 253

composition: Op. 19, Bolero

 
 
..

The staccato dot in GE must be considered an accidental mistake of the engraver.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 253

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

Alignment of notes in FE (→GE1→GE2)

Alignment of notes in EE & GE3
..

In FE (→GE,EE), there is no digit determining the rhythmic shape of the group of 7 quavers. The alignment of notes with respect to the L.H. adopted in FE (→GE1→GE2) suggests the following grouping: , which combines well with the stretto indication, written in the 2nd half of the bar. Due to this reason, we preserve this notation in the main text. However, FE are not entirely reliable in this respect, since they feature numerous examples of more or less blatant mistakes in this regard (e.g. in bar 519, the 2nd mov., bar 23, the 3rd mov., bar 475, cf. also the Nocturne in B minor, op. 9, no. 1, bars 73 and 75). Therefore, the layout adopted in EE and GE3, corresponding to a  septuplet, may be considered a fully-fledged variant. Practically, the written down rhythm serves as inspiration only; its performance should be uninhibited, smooth and emotionally suggestive.  

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , GE revisions