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b. 321-322

composition: (Op. 4), Sonata in C minor, Mvt IV

 in A (literal reading→GE→FE,EE,IE)

Long accents in A, contextual interpretation
..

As in bars 317-318, in the main text we interpret the half-bar  marks of A (→GE→FE,EE,IE) as long accents.

category imprint: Graphic ambiguousness; Editorial revisions

issues: Long accents

b. 322-324

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

..

Three flats before g notes visible in A, written later with a foreign hand, were not included in GE1. The same applies to the cautionary  before G at the beginning of bar 324. The natural harmonic context allows to guess the correct text even without these signs; however, all doubts are dissipated by the Chopin proofreading of FE (→EE), in which all necessary flats in bar 322 were added as well as a cautionary  before A at the end of bar 323 and E at the end of bar 324. GE2 included the signs added in A, adding also a fourth one, a necessary  in bar 322 (before the penultimate semiquaver).

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Foreign hand additions in manuscripts , Authentic corrections of FE

b. 322

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

..

In the main text, we omit the  (reminding?) before the 2nd semiquaver f1. A mark in this place is totally unjustified, particularly in the sources in which a cautionary  at the same pitch is present 4 notes before.

category imprint: Editorial revisions

issues: Cautionary accidentals

b. 322-324

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

Fingering written into FEH

No fingering in FE (→GE)

Fontana's fingering in EE
..

The fingerings of FEH and EE are totally compliant, probably also with the Chopinesque fingering. In FEH, encompassing almost the entire three-bar sequence with the entry suggests that such fingering, not taking into account differences in the arrangement of black and white keys, was something new for the performer.

category imprint: Differences between sources

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

b. 322-324

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

Fingering written into FEH

No fingering in FE (→GE)

Fontana's fingering in EE
..

In the places where FEH and EE give fingering for the same notes, the indications are totally compliant, which results from the consistent use of the 1st finger on a white and 2nd finger on a black key on the 1st note of each group of semiquavers. However, according to us, it does not mean that the fingering is identical, since Fontana copies the fingers 3-4 for the middle semiquavers of each group, whereas in FEH, the notes are devoid of indications (with one exception), which suggests the use of subsequent fingers, hence 2-3 after the 1st finger and 3-4 after the 2nd one. This conclusion is confirmed by the aforementioned exception – the 4th finger on a in bar 323 naturally stems from the 2nd finger marked on the initial c1; indicating it in this place most probably means that it was another finger that played the 3rd semiquaver of the group, i.e. the 3rd one. 

category imprint: Differences between sources

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