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b. 416-417
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composition: Op. 21, Concerto in F minor, Mvt III
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The slur of A does not go beyond bar 416; however, its shape does not exclude an interpretation in which the last note of the phrase is also encompassed with it. We adopt this interpretation to the main text due to the significant statistical predominance of pianistically natural slurs reaching the notes on which the triplet movement stops for a moment – see bars 409-419. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A |
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b. 416
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composition: Op. 11, Concerto in E minor, Mvt I
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The version of GE2 (→GE3) was probably introduced to avoid dissonance with the C-c bass octave. It was most probably a comparison with similar bars 418, 410, 422 and analog., in which there are fourths, making up consonant triads with the L.H., that confirmed the conviction of the reviser of GE2 that the change is right. The fact that the text of FE (→GE1,EE) is error-free is confirmed by combining it with the orchestral part, in which e1-b1 in the piano corresponds with b1 in the accompanying part of violin I. category imprint: Differences between sources issues: GE revisions |
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b. 416
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composition: Op. 11, Concerto in E minor, Mvt I
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The authenticity of the very entry in FEH is unconfirmed, but the indicated fingering is almost certainly Chopinesque. It is evidenced by the entry in FED in an analogous situation in bar 418, and the same fingering of the 2nd and 3rd beat written into FEFo. The fingering 321 for the repeated notes was also inscribed by Chopin in Waltz in E category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH , Annotations in FEFo |
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b. 416-417
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composition: Op. 11, Concerto in E minor, Mvt I
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All three sets of numerals describe the same, undoubtedly Chopinesque fingering. Chopin indicated the intervals of an octave to be performed with fingers 1-5 and 5-1 in similar figures also in other pieces – cf. the Concerto in F minor, op. 21, 1st mov., bars 101-103 or the Polonaise-Fantaisie, op. 61, bars 88-89. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH , Annotations in FEFo |
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b. 416
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composition: Op. 11, Concerto in E minor, Mvt I
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In bar 416, opening a new line, FE overlooked the ending of the slur and, most probably, a wedge in the L.H. part. In EE, both marks were added, whereas in GE1 (GE2), only the wedge (the slur was corrected in GE3, in which there is a different division into lines and pages). category imprint: Differences between sources; Editorial revisions issues: EE revisions , Errors in FE , GE revisions |
op. 18 (the initial motif and bar 21). The fingering of the four-note groups of semiquavers is compliant with the distinction of the inner voice indicated by Chopin in each of them. In the editors opinion, it is articulation and actually fingering that were an important, if not the most important, reason to apply this notation, which is indicated by the probably original form of these figures preserved, e.g. in 
