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b. 317
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composition: Op. 21, Concerto in F minor, Mvt III
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In the main text we adopt the newer form of this adverb, introduced in GE1 (we correct the erroneous 'o' at the end of the word to an 'e'). category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , Errors in GE , GE revisions , FE revisions |
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b. 317-318
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composition: Op. 21, Concerto in F minor, Mvt I
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The omission of one (GE1) or both (FE) slurs over the pairs of bass notes is certainly a mistake. The slurs were added in EE and GE2. category imprint: Differences between sources issues: EE revisions , Errors in FE |
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b. 317
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composition: Op. 21, Concerto in F minor, Mvt I
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The second slur in FE is almost certainly erroneous (perhaps it is a mistake repeated after the original version of GE1, which was then corrected in the last phase of proofreading). The version of EE, certainly contrary to Chopin's intention, is probably an attempt to organise slurs over similar figures in bars 316-318. category imprint: Differences between sources issues: EE revisions , Errors in FE |
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b. 317-318
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composition: Op. 21, Concerto in F minor, Mvt III
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In Morch Chopin shortened the value of the g-e1-b category imprint: Corrections & alterations; Source & stylistic information issues: Accompaniment changes |
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b. 317
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composition: Op. 11, Concerto in E minor, Mvt I
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The version of GE is most probably a mistake, although, just like in the case of the majority of Terzverschreibung errors, it is possible to accept the sound result. Admittedly, the bar does not repeat the previous harmonic scheme, yet the melodic analogy remains clear, and changing the final interval would distort, for no apparent reason, the octave line implemented from bar 315: category imprint: Differences between sources issues: Errors in GE , Terzverschreibung error |
1 chord in violins and violas to a crotchet – originally, it lasted almost two bars, same as the bass note of the C-c chord, held by cellos and double basses.
4 in 
.