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b. 474-475

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

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In A, Chopin marked correctly only the first out of three notes requiring an accidental in both passages – b in bar 474 and c3 in bar 475. All necessary signs were added already in GE (→Fe→EE). Moreover, a cautionary  was added before f1 at the beginning of bar 474. In the main text, we also add a cautionary  before g2 in bar 475.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 474

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

 in FE (→EE)

 in GE1 (→GE2)

No sign in GE3
..

In the main text, we reproduce the ​​​​​​​ hairpin on the basis of FE (→EE). However, according to us, the mark applies to both hands, namely to the sequence of semiquavers beginning particular groups (there is a similar situation in subsequent bars). It was most probably the engraver of GE1 (→GE2) that reversed the mark, whereas in GE3 its absence can be explained by an oversight.

category imprint: Differences between sources

issues: Errors in GE

b. 474

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

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The cautionary natural before a is present only in GE.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 474-475

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

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The traces of proofreading of the slurs in the L.H., visible in FE, allow for deciphering the original slurs, divided with a bar line. There is a similar situation in bars 476-477.

category imprint: Corrections & alterations; Source & stylistic information

issues: Authentic corrections of FE

b. 474-475

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

​​​​​​​ in FE (→EE,GE1→GE2)

​​​​​​​ in GE3
..

The significantly shorter  hairpin with respect to analogous bars 472-473, musically unjustified, suggests an inaccuracy of notation. The reason for a later beginning of the mark could have been, e.g. lack of space in [A] – if FE had faithfully reproduced the layout of the autograph, Chopin would have had less space under the L.H. part in the discussed bars due to all stems pointing downwards. In turn, an earlier ending could have been related to the semiquavers passing to the upper stave (both elements of the layout were not taken into account in our transcriptions). Therefore, in the main text we give a ​​​​​​​ mark analogous to the one in bars 472-473. A similar change was introduced in GE3.  

category imprint: Differences between sources; Editorial revisions

issues: Scope of dynamic hairpins , GE revisions