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b. 312-313

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

b repeated in FE (→EE)

b tied in GE3

Tied b suggested by the editors
..

The missing tie of the b2 crotchet is almost certainly an oversight – the tie is in analogous bars 84-85 and in violins I in FEorch. Chopin's or the engraver's distraction is additionally proven by missing slurs in bars 309-314.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in FE , GE revisions

b. 312-314

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

No dashes in FE (→EE)

Dashes in GE

Possible interpretation of FE

Different interpretation
..

Prolonging the range of crescendo to , like it was performed in GE, or even further, is justified – an accidental omission of such dashes is often to be found in first editions; it could have also happened to Chopin, e.g. at a transition to a new line. Moreover, it cannot be ruled out that ​​​​​​​ in bar 313 is written inaccurately. In the main text, however, we preserve the version of the principal source, i.e. FE (→EE), since in spite of suggestions of nuances, perhaps not intended by Chopin, that version correctly conveys the general dynamic image of that fragment.  

category imprint: Differences between sources

issues: Inaccuracies in FE , GE revisions

b. 312

composition: Op. 44, Polonaise in F♯ minor

No markings in GE

Staccato dots & accent in FE

Only accent in EE
..

We explain the absence of markings in GE in b. 24-26. The missing staccato dots in EE must be an oversight of the engraver.

category imprint: Differences between sources

issues: Errors in EE , Authentic corrections of FE

b. 312

composition: Op. 49, Fantaisie in F minor

Short accents in A & EE2

Long accents in GE

Short accent in b. 314 in FE (→EE1)
..

The accent in bar 312 could have been added to A after [FC] had been finished, which is indicated by it having been placed differently than the accent in bar 314 (under and not over the octave). The type of accents can give rise to doubts, since they are slightly longer than those at the beginning of bar 311, 313 and 315. The musical context suggests that all five marks should be considered equally (they concern crotchets separated by rests), which is confirmed by the unquestionable long accents in the middle of bar 313 and 315, clearly longer than all the remaining ones. In GE the two discussed accents were reproduced as long, while in FE (→EE1) the only mark in this edition in bar 314 – as short. In EE2 both accents are short – the former on the basis of FE2, while the latter – inaccurately repeated after GE1.
Despite their differing position, once under and once over the octave, both marks in A clearly concern the L.H., hence, for the sake of clarity, we place both under the octaves. In GE both accents were placed over the octaves; moreover, it was performed in an ambiguous manner, as far as their assignment to one of the hands is concerned.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , EE revisions , Placement of markings , GE revisions

b. 313

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

..

The  before the top note at the beginning of the bar in FE1 was overlooked. The mistake was corrected in FE2 (→EE).

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , FE revisions