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b. 556

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

Rhythm in FE (→EE) & GE3

Rhythm in GE1 (→GE2)
..

In the version of GE1 (→GE2), the first 4 notes and rest constitute an unmarked semiquaver quintuplet. Nothing points to authenticity of that version, although it is practically very close to the actual performance – see the commentary to the Scherzo in C​​​​​​​ Minor, Op. 39, bar 47. The version of GE3 was probably introduced on the basis of analogy with similar bars of exposition. 

Like in bar 197, 199 and 201, in FE one can see traces of swapping rhythmic values of the 2nd and 3rd notes – initially, the 2nd note was a semiquaver, whereas the 3rd one – a demisemiquaver.  

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Errors in GE , GE revisions , Authentic corrections of FE , Inserted rest

b. 556-572

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

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category imprint:

b. 556

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

Fingering written into FEH

No teaching fingering
..

Like in bar 552, the unobvious use of the 1st finger on a black key was marked in FEH. 

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 556

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

Slur in FE (→EE,GE1→GE2)

2 slurs in GE3
..

In the main text, we adopt the change of slurring introduced in GE3. Chopin would sometimes use slurs over rests; however, in this case there are reasons to assume that the fact of having left one slur – most probably the original one, see bar 197 – was his inadvertence.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 556

composition: Op. 31, Scherzo in B♭ minor

Arpeggio signs in A (→FE→EE) & GE2 (→GE3)

No signs in FC (→GE1)
..

The missing arpeggios must be an oversight of the copyist in FC (→GE1), corrected in GE2 (→GE3).

category imprint: Differences between sources

issues: GE revisions , Errors of FC