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b. 286

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

e2 repeated in A (→GE→FE→EE1→EE2)

e2 tied in EE3

Tie to e2 suggested by the editors
..

In the main text we suggest tying e2, after the Chopin proofreading of FE in the analogous bar of the exposition (bar 138). The tie was added in EE3, most probably on the basis of comparison with the exposition.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Omitted correction of an analogous place

b. 286

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

No mark in A (→GE→FE→EE1)

Short accent in EE2 (→EE3)

Long accent suggested by the editors
..

In the main text we suggest adding an accent on the basis of comparison with analogous bar 138. The second half of this bar seems to have been written less carefully in A – cf. the note on pedalling. The accent was added in EE2 (→EE3), most probably on the same basis.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 286

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

No markings in A (→GE→FE)

  in EE

[ ] suggested by the editors
..

In the main text we suggest adding pedalling after indications added by Chopin in the proofreading of FE in analogous bar 138. Such an addition was introduced already in EE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 286

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

..

There is a cautionary  before d1 in the sources, written by Chopin probably in order to avoid a d1 due to b2 in the R.H. and a very frequent use of diminished triads and four-note chords. We omit this sign in the main text, since the d-f-b chord used in this place was highlighted two bars earlier.

category imprint: Editorial revisions

issues: Cautionary accidentals , Last key signature sign

b. 286

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

 in FE (→EE,GE1→GE2)

Longer  in GE3
..

Differently than in the previous bar, the extension of the  hairpin is not justified here, since the destination of the crescendo was not explicitly indicated – in bar 287, there is no . After all, a shorter mark does not determine the performance manner – one can consider it a suggestion that the climax should occur slightly earlier to prepare the upcoming  to a certain extent; however, one can also consider sempre cresc. to be valid until the end of the bar, irrespective of the range of the  mark.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , GE revisions