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b. 461-462

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

No fingering in FE (→GE)

Fontana's fingering in EE

Fingering written into FEH
..

category imprint: Differences between sources

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

b. 461

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

Longer slur in #E (→GE1→GE2)

Shorter slur in EE & GE3

Average slur suggested by the editors
..

A comparison with similar motifs suggests that the slur encompassing the entire figure in this bar is probably inaccurate. It was deemed as such already in EE and GE3, which replaced it with a shorter one, probably modelled after the previous bar. In the main text, we give a slur reaching the topmost note of the bar, most frequent in analogous bars in the sources.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 462-463

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

Slur to c3 in A

Slur to d3 in GE (→EE→EE)
..

The slur in the R.H. starting in bar 462 reaches only the last note in this bar in A. It is almost certainly a trace of the original notation, which is supported by an extension of the slur in an analogous situation one bar earlier. Chopin's oversight was corrected already in GE1, most probably by the composer himself. At the same time, the visible traces of corrections in print prove that it was different slurs than in A that were subject to proofreading – it is likely that initially each of bars 461-464 was encompassed with a separate, whole-bar slur (bar 462 certainly was).

category imprint: Differences between sources

issues: Authentic corrections of GE , Omitted correction of an analogous place , Corrected slurs of Op. 21 in GE1

b. 462

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

 in A (→GE)

No sign in FE (→EE)

  suggested by the editors
..

The missing  mark in A (→GE) is most probably an inaccuracy, resulting from the transition into a new page. Prior to this place, Chopin wrote a respective sign in an analogous situation three times (bars 414, 422 and 454). The omission of the  mark in FE (→EE) is most probably an oversight.

category imprint: Differences between sources

issues: Inaccuracies in FE , No pedal release mark , Inaccuracies in A

b. 462-463

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

e3 in A (literal reading→GE→FE1)

e3 in A (contextual interpretation) & FE2

e3 & e3 in EE
..

Just like in bars 422-423, the flats lowering e3 to e3 and the cautionary  before e2 in the L.H. in bar 463 prove that the version of A (→GE→FE1), interpreted literally, is erroneous. In EE, a respective  is only in bar 463 (together with a  before e2), which is probably a result of an oversight of the sign in bar 462. 

category imprint: Interpretations within context; Differences between sources

issues: Errors in EE , Cautionary accidentals , Omission of current key accidentals , Errors of A , Authentic corrections of FE