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b. 416
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composition: Op. 21, Concerto in F minor, Mvt III
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In A (→GE) the crotchet of the bottom voice is written as a g category imprint: Differences between sources; Corrections & alterations issues: Enharmonic corrections , Authentic corrections of FE |
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b. 416
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composition: Op. 21, Concerto in F minor, Mvt III
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The version of A (→GE) is most probably the original review of this chord, left by inadvertence (haste). It is proved by the undoubtedly Chopinesque proofreading of FE (→EE) and by the corrections visible in A in the repetition of this bar (bar 456). category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Omitted correction of an analogous place |
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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 |
2. Similarly, the bottom note of the 3rd quaver is a g
2(1), in accordance with the way in which he wrote all subsequent appearances of similar bars. 
