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b. 341

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

Fingering digit added to FEH

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 341-342

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

Slur from 1st quaver in GE (→EE,IE)

Slur from 2nd quaver in FE

Slur from 2nd quaver to next bar suggested by editors
..

The A slur is most probably inaccurate, both its beginning and ending. This is supported by the comparison with the precise slurs in analogous bar 342 and 345-346 (cf. also bars 162-164, 166-168 and 170-172, which show traces of slur corrections in A). In GE (→EE,IE) it was most probably reproduced in this form, although in the available copies of GE the slur seems to be starting from the 2nd quaver, which is probably a printing defect (the position of the bar, in the right-hand bottom corner of the page, is conducive to such inaccuracies). The later starting point of the slur in FE probably resulted from this defect.
The fact that in the sources the slur does not reach the beginning of the next bar is most probably due to the transition to a new line.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Inaccurate slurs in A

b. 341

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

No mark in A

Wedge in GE (→FE,EE,IE)
..

The wedge was added in GE (→FE,EE,IE), probably by analogy with bar 345. We do not include it in the main text, as the majority of the analogous bars do not contain staccato marks.

category imprint: Differences between sources

issues: GE revisions

b. 341-346

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

Short accents in sources

Long accents suggested by the editors
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In the sources the marks in bar 341, 345 and 346 are provided with the form of short accents. However, the comparison with analogous bars reveals that in each of the two sections based on similar motifs (bars 162-171 and 293-312) Chopin most probably meant the same type of accent, which is long accent. In the first fragment there are 5 accents, 3 of which are clearly long, one is short, while one is ambiguous. In the other section out of 4 accents 2 are long, one is short, and one is ambiguous. Due to the above, in the main text we suggest long accents also in the discussed bars.

category imprint: Editorial revisions

issues: Long accents

b. 342-344

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

No marks in sources

Staccato dots suggested by the editors
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We suggest adding staccato signs in a similar context in bars 342 and 344 after the dots in the L.H. in bar 348 written in A.

category imprint: Editorial revisions