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b. 322-324

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

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Three flats before g notes visible in A, written later with a foreign hand, were not included in GE1. The same applies to the cautionary  before G at the beginning of bar 324. The natural harmonic context allows to guess the correct text even without these signs; however, all doubts are dissipated by the Chopin proofreading of FE (→EE), in which all necessary flats in bar 322 were added as well as a cautionary  before A at the end of bar 323 and E at the end of bar 324. GE2 included the signs added in A, adding also a fourth one, a necessary  in bar 322 (before the penultimate semiquaver).

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Foreign hand additions in manuscripts , Authentic corrections of FE

b. 322

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

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In the main text, we omit the  (reminding?) before the 2nd semiquaver f1. A mark in this place is totally unjustified, particularly in the sources in which a cautionary  at the same pitch is present 4 notes before.

category imprint: Editorial revisions

issues: Cautionary accidentals

b. 322-324

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

Fingering written into FEH

No fingering in FE (→GE)

Fontana's fingering in EE
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The fingerings of FEH and EE are totally compliant, probably also with the Chopinesque fingering. In FEH, encompassing almost the entire three-bar sequence with the entry suggests that such fingering, not taking into account differences in the arrangement of black and white keys, was something new for the performer.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FEH

b. 322-324

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

Fingering written into FEH

No fingering in FE (→GE)

Fontana's fingering in EE
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In the places where FEH and EE give fingering for the same notes, the indications are totally compliant, which results from the consistent use of the 1st finger on a white and 2nd finger on a black key on the 1st note of each group of semiquavers. However, according to us, it does not mean that the fingering is identical, since Fontana copies the fingers 3-4 for the middle semiquavers of each group, whereas in FEH, the notes are devoid of indications (with one exception), which suggests the use of subsequent fingers, hence 2-3 after the 1st finger and 3-4 after the 2nd one. This conclusion is confirmed by the aforementioned exception – the 4th finger on a in bar 323 naturally stems from the 2nd finger marked on the initial c1; indicating it in this place most probably means that it was another finger that played the 3rd semiquaver of the group, i.e. the 3rd one. 

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FEH

b. 322-326

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

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FE has a cautionary  before b3 in bar 322. It must be a mistake – the accidental should have been placed at the pitch of a3. The error was corrected both in GE and EE, both also added an analogous ​​​​​​​ in bar 326.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , GE revisions , Cautionary accidentals