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b. 424
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composition: Op. 11, Concerto in E minor, Mvt III
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In the main text, we begin the slurs from the 1st semiquaver of the bar, since the first two semiquavers are encompassed with one slur in the three remaining analogous places in the second appearance of this theme (bars 416, 432 and 446). The notation in bars 415-416 is particularly significant, since it emphasises the unity of the tied quaver with the following semiquavers, which is especially meaningful when the entire phrase starts from two staccato quavers. category imprint: Editorial revisions |
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b. 424
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composition: Op. 16, Rondo in E♭ major
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We add a cautionary category imprint: Editorial revisions |
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b. 424-425
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composition: Op. 31, Scherzo in B♭ minor
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GE1 has erroneously e1 as the last crotchet in b. 424. The mistake was corrected in GE2 (→GE3) by replacing it with a tied c category imprint: Interpretations within context; Differences between sources issues: Errors in GE , Terzverschreibung error , GE revisions |
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b. 425
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composition: Op. 21, Concerto in F minor, Mvt III
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In the main text we add a cautionary category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 425
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composition: Op. 11, Concerto in E minor, Mvt I
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The only digit written in FEH (by Chopin?) determines hand position for the entire 1st group of semiquavers; in this situation, it seems natural to repeat this scheme in the next two groups, where the digit determines fingering of the entire bar. It coincides with Fontana's fingering in EE, which is described in more detail. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
before e
3 in the main text.
1.
before a1. The sign was added already in 
