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b. 477-478

composition: Op. 31, Scherzo in B♭ minor

Slur in A (literal reading→FE→EE) & GE2

Slur to bar 478 in A (contextual interpretation→FC→GE1) & GE3
..

When interpreted literally, the slur of A does not go beyond b. 477. A comparison with an analogous motif in b. 485-486 confirms the validity of the interpretation of that slur by FC (→GE1) and GE3. In turn, it is difficult to say what the motivation of the reviser of GE2 was while shortening that slur (and analogous in b. 481-482, 485-486 and 489-490), since he did not have access to A.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , GE revisions

b. 478-479

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

..

Just like in the previous passages, Chopin wrote the necessary accidentals in A only in the first triplet in each bar. All necessary signs, including the cautionary  before f3 in bar 479 were added in GE (→FE→EE). Moreover, GE2 added two more cautionary naturals before f2 and f. In the main text, we omit the latter.

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

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

b. 478

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

Fingering digit in A & GE2

No fingering in GE1 (→FE→EE)
..

Omission of this 'one' in GE1 (→FE→EE) probably resulted from it having been considered a consequence of an accidental quill movement.

One can ponder why Chopin indicated fingering only in the fifth similarly structured passage. It could have been related to tucking the thumb under on a black key in a situation when the previous passage included white keys only (in bar 472 the position of the thumb on the black key was forced already in the previous bar).

category imprint: Differences between sources

issues: Errors in GE

b. 478

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

Shorter  in A

Longer  in GE (→FE→EE)
..

Extending the  hairpin to the end of the bar, like it was done in the editions, seems to be justified by the general direction of the passages and by analogy to the mark in bar 476, led in such a way in A. However, in the main text we reproduced the notation of A, which, not excluding the climax of the passage at the beginning of the next bar, may also suggest a more pronounced accentuation of the 3rd beat of the bar as including the locally topmost note (in bars 478-479). See also bar 480.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 478

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

Fingering in FE (→GE)

Fontana's fingering in EE
..

Fontana's fingering added at the beginning of the bar must be inauthentic, since it does not match the Chopinesque indication at the end of the bar – Fontana must have changed the authentic '4' to a '5'.

category imprint: Differences between sources

issues: EE revisions