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b. 261-262

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

2 slurs in FE

3 slurs in GE

2 slurs in EE

Slur suggested by the editors
..

The version of FE seems to be a result of a misunderstanding at the time of interpreting [A], in which possible corrections (combined slurs?) could have impeded figuring out Chopin's intention. The versions of GE and EE must be arbitrary revisions of this most probably inaccurate notation. The notation suggested in the main text, modelled after the previous element of the progression, is practically tantamount to the notation of FE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Inaccuracies in FE , GE revisions

b. 261

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

Slur from 1st quaver in FE (→EE,GE1→GE2)

Slur from 2nd quaver in GE3
..

A later beginning of the slur in GE3 is an arbitrary revision, introduced most probably on the basis of the inaccurate beginning of the slur of GE in bar 263.

category imprint: Differences between sources

issues: GE revisions

b. 261-264

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

2 lower slurs in FE (→EE)

No lower slurs in GE
..

The absence of the bottom slurs in GE most probably means that they were added by Chopin in the last proofreading of FE (→EE).

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 261-263

composition: Op. 22, Polonaise

Flats b1 & b in FE (→GE,EE)

5 cautionary accidentals suggested by editors
..

In the entire three-bar chromatic sequence, in the main text we suggest a few cautionary accidentals in the R.H. part –  of g in b. 261,  of a1 in b. 262 and  of e1 and  of f1, g1 in b. 263. In turn, we omit the flats before b1 and b in b. 262 present in the sources.

category imprint: Editorial revisions

issues: Cautionary accidentals

b. 261

composition: Op. 44, Polonaise in F♯ minor

in GE

No marking in FE (→EE)
..

Chopin could have entered  into [A] after Fontana had finished [FC]. In this case it seems slightly more likely than a possible oversight of the mark by the copyist or the engraver of FE, since a similar situation concerns also  and  in b. 267-268 (however, such serial oversights would happen both to Fontana and the engravers – cf., e.g. the ending of the Prelude in B minor, Op. 28 No. 16 or the Prelude in E major, Op. 28 No. 19, b. 28-32). Anyways, there are no doubts as to the authenticity of this indication; as nothing indicates that Chopin would have wanted to forgo it, we give it in the main text.

category imprint: Differences between sources