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b. 408

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

FE, literal reading

FE, contextual interpretation

FE, different interpretation

GE & EE
..

When interpreted literally, the ambiguous, in terms of rhythmic values and division into parts, notation of FE may have a few possible versions. It is the interpretation based on a possible reconstruction of the notation of [A], rhythmically consistent, that we adopt as both the text of FE and the main text.

category imprint: Editorial revisions

issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies

b. 409

composition: Op. 39, Scherzo in C♯ minor

Staccato dots in EE and FE

No marks in GC (→GE)
..

GC (→GE) there are no staccato dots in LH. This may have been the copyist's omission (b. 67).

category imprint: Differences between sources

issues: Errors of GC

b. 409-432

composition: Op. 39, Scherzo in C♯ minor

..

Writing out crescendo in syllables in EE is a revising characteristic of the Wessel editions.

category imprint: Source & stylistic information

issues: EE revisions

b. 409-419

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

Slurs to c3-f3 in A (contextual interpretation) & GE2

Slurs to d3 in GE1 (→FE→EE)
..

In A, the slurs over each of the descending figures in the R.H. in bars 409, 410, 417 and 418 reach the c3-f3 fourth at the beginning of the next bar (the first of them, slightly shorter, is an exception, yet in this case Chopin certainly had a longer slur in mind, too, which is proved by the slur of the original crossed out notation of bars 409-411). In spite of this, in GE1 (→FE→EE) all four slurs end with the last quaver in these bars.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccurate slurs in A , GE revisions , Inaccuracies in A

b. 409-411

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

..

In A one can see a three-bar correction here: the text on the top stave, including the part of the R.H. and crotchets in the L.H. (two in each bar), was crossed out and rewritten on the staves above (R.H. part) and below (the crotchets in the L.H. together with the necessary changes of clefs). The reason for these changes was an imprecision following from the original layout of the text – formally, the octave sign over the part of the R.H. would also apply to the crotchets in the L.H. written below it, which, of course, was not intended by Chopin. The original crossed out notation does not include 8- - -, so Chopin noticed a possible inaccuracy only when proceeding to write an octave sign.
Therefore, one may ponder whether it was already [AI], on the basis of which the composer probably copied A, that contained an imprecise notation or whether it was Chopin that, in order to make the process of notation easier, changed the layout in a careless manner only when writing A. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A