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b. 259-261
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composition: Op. 11, Concerto in E minor, Mvt I
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The fact of leading the slur to the beginning of bar 261 is most probably an inaccuracy, which one can easily imagine, being aware of the Chopinesque panache when writing slurs, encountered in numerous autographs. There is no reason for the phrasing to obscure the natural division, marked by the progression's parts and underlined by the additional slurs in the bass in bars 261-264 and category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , GE revisions |
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b. 259-261
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composition: Op. 11, Concerto in E minor, Mvt I
category imprint: Differences between sources issues: EE revisions |
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b. 259
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composition: Op. 11, Concerto in E minor, Mvt III
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Taking into account the identical context of bar 255, we consider the missing category imprint: Editorial revisions issues: No pedal release mark |
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b. 259
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composition: Op. 44, Polonaise in F♯ minor
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In EE1 there is no category imprint: Differences between sources issues: EE revisions , EE inaccuracies |
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b. 259
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composition: Op. 23, Ballade in G minor
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In the main text we reproduce the notation of A, in which a diagonally crossed octave means a very fast arpeggio (faster than the one written down with the use of a grace note). The direction in which an octave should be broken results from the notation of the preceding octaves; moreover, it is indicated by the direction of the diagonal line crossing the stem of an octave. The absence of respective lines in the editions probably resulted from the engraver of FE not having understood this notation. category imprint: Differences between sources issues: Errors in FE |
marks. Moving the beginning of the slur to the 2nd quaver in bar 259 is an arbitrary revision of 
suggested by the editors
to e3. The natural is not indispensable in this case, yet definitely advisable in the face of the 
before the 4th semiquaver in the bar at the same pitch. It was added by 
