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b. 377-378

composition: Op. 16, Rondo in E♭ major

Hairpin in FE (→GE)

Longer hairpin in EE
..

Extending the range of the hairpin almost throughout the two bars is an arbitrary revision of EE.

category imprint: Differences between sources

issues: EE revisions

b. 377

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

Semiquavers in FE (→GE,EE)

Dotted rhythm suggested by the editors
..

According to us, there is a strong likelihood that the version of the sources is erroneous. It is indicated by the dotted rhythm in the analogous phrase in bar 373 as well as in bars 381, 383 and 385. The analysis of the sources of the orchestral part also suggests a mistake in the notation of the rhythm of the L.H. part – see e.g. MFrorch.

category imprint: Editorial revisions

issues: Dotted or even rhythm

b. 377

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

Slur in FE (→GE,EE)

Interpretation of that slur suggested by the editors
..

In the main text, we suggest a likely reconstruction of the notation of [A]. However, it is also the sources' literal interpretation of the slur that could correspond to Chopin's intention. 

category imprint: Editorial revisions

issues: Tenuto slurs

b. 377

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

Crotchet in FE

Dotted crotchet in GE & EE

Dotted crotchet suggested by the editors
..

Like in bar 373, we consider the missing dot prolonging f2 to be an inaccuracy of notation. Our view was shared already by the revisers of GE and EE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Inaccuracies in FE , GE revisions

b. 377

composition: Op. 2, Variations, complete

3 staccato dots in AsI

3 wedges in A (→GE→FE,EE)
..

In AsI the last three staccato marks are dots, and not wedges, as the first three and as it is in the published version. The difference between the markings of the first and second half of the bar also concerns slurs – see the next note. All these markings are only in the R.H. part and only in this bar, hence it seems that Chopin was checking here what different variants of markings of this figuration look like. Having eventually opted for wedges and two-note slurs, he wrote them in A in the entire passage. 

category imprint: Differences between sources; Corrections & alterations

issues: Wedges