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b. 442-446

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

No marks in FE (→EE,GE1→GE2)

Staccato dots in GE3
..

The staccato dots in bars 442, 444 and 446 were arbitrarily added by the reviser of GE3 (here and in all similar places – cf. bars 416-422).

category imprint: Differences between sources

issues: GE revisions

b. 443

composition: Op. 39, Scherzo in C♯ minor

..

In the copyist's notation of this chord in GC there is no ledger line for a2 (compare identical errors in bars 91 and 100). The line penciled in here was most probably added by the egraver or editor.

category imprint: Source & stylistic information

issues: Terzverschreibung error , GE revisions , Errors of GC

b. 443-444

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

Slurs to bar 444 in FE (→EE,GE1→GE2)

Shorter slurs in GE3
..

As in many other places, GE3 shortened slurs in the parts of both hands, separating the quavers ending the phrase from the preceding semiquavers.

category imprint: Differences between sources

issues: GE revisions

b. 443

composition: Op. 16, Rondo in E♭ major

Long accent in FE

Short accent in GE & EE
..

In GE and EE, the accent was reproduced as short, a typical inaccuracy for this type of marks.

category imprint: Differences between sources

issues: Long accents , Inaccuracies in GE , EE inaccuracies

b. 443

composition: Op. 16, Rondo in E♭ major

Slur in FE (→EE), literal reading

Tie to a1 (contextual interpretation of FE)

No slur/tie in GE
..

The ambiguous curved line of FE (→EE) combines the last note of bar 443 (c2) with the top note of the first chord in bar 444.  According to us, the most likely interpretation of that curved line is a tie of the a​​​​​​​1 crotchet – Chopinesque ties were often erroneously interpreted by the engravers in a similar manner – and this is the interpretation we adopt to the main text. In GE, the curved line was omitted, perhaps due to interpretation difficulties. 

category imprint: Differences between sources; Editorial revisions

issues: Errors in GE