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b. 321

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

Fingering written into FEFo

No teaching fingering
..

In the main text, we include the fingering digits of FEFo, probably coming from Chopin. They define the fingering scheme for the R.H. for three subsequent bars.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEFo

b. 321-322

composition: Op. 44, Polonaise in F♯ minor

Continuous slur in GE & FE (contextual interpretation)

Separate slurs in FE (literal reading→EE)
..

In FE b. 321 ends a line, while the slur reaches the last semiquaver only. However, in a new line, in b. 322 the slur clearly suggests that it should be continued. EE considered the latter to be inaccurate, whereas according to us, it is more likely that it is the slur of FE that was supposed to be continuous, like the one of GE.

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , Inaccuracies in FE , Uncertain slur continuation

b. 321-322

composition: Op. 44, Polonaise in F♯ minor

..

We add cautionary naturals before D in the main text.

category imprint: Editorial revisions

b. 321-325

composition: Op. 2, Variations, complete

Staccato dots in A

Wedges in GE (→FE,EE)
..

The semiquavers ending the mostly six-note motifs encompassed with slurs in bars 321-322 and 324-325 (and in bars 327-328 as well) were provided with staccato dots by Chopin. The wedges with which they were replaced in the editions resulted from the unifying revision of the engraver of GE1. In the remaining editions, the wedges were repeated after GE1, whereby in EE and FESB some marks were overlooked – in EE the first one in bar 325, while in FESB all in bar 321 and 325 (and in bar 327 too) and the third one in bar 322. We do not consider these inaccurate versions to be independent variants.

category imprint: Differences between sources

issues: GE revisions , Wedges

b. 321-322

composition: Op. 2, Variations, complete

..

In A there are no accidentals to the last semiquaver on each beat of the bar – Chopin considered the accidentals written to the earlier notes placed an octave lower to be valid (AsI is slightly more accurate, since it includes a  to c2 in bar 321). In GE1 (→FE,EE) these accidentals were added only just starting from g2, the last semiquaver in bar 321. In GE2 (→FESB) a  to e2 was also added, while in GE3 also a  to c2.
In the main text we give all the omitted accidentals and omit the unnecessarily repeated  to f2 at the beginning of the last R.H. triplet.
There is a similar situation in bars 324-325 and 327-328.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Cautionary accidentals , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE