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b. 15

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

Quaver e1 in A (→GE1FEEE)

Tied crotchet e1 in GE2

..

Tying e1 in GE2 is probably an attempt to interpret an unclear legato slur in A.

category imprint: Differences between sources

issues: GE revisions

b. 17

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

Slur in A & GE2

2 slurs in GE1 (→FEEE)

..

In this case, it is hard to state how the discrepancies between the slurring of A and GE1 (→FEEE) occurred. Although one cannot see traces of a possible Chopin proofreading in print, it does not mean such a possibility is definitely excluded. On the other hand, an arbitrary change of the engraver, whose result is compatible with Chopin slurring of the repetition of this phrase in the ending (bars 85-86), seems to be highly unlikely. Therefore, both versions may be considered equal; to the main text we adopt the one whose authenticity remains beyond any doubt, i.e. A (and GE2).

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of GE

b. 17

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

Arpeggio sign in A

Slur in GE (→FEEE)

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A vertical slur written in A before the c2-c3 octave designates an arpeggio: it is just a simplified form of the standard wavy line, cf. e.g. the last chord in the 3rd movement, bar 484. In that period of Chopin's life the simplification process had just begun, hence a misunderstanding of this notation on the part of engravers is understandable. 

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in GE

b. 17

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

Slur in A & GE2

No slur in GE1 (→FEEE)

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The missing slur in GE1 (→FEEE) is undoubtedly a mistake, corrected in GE2 on the basis of A.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 18

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

Lines & dots in A & GE2

Only dots in GE1 (→FEEE)

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Omission of tenuto dashes over three octaves in GE1 (→FEEE), despite having been consistently carried out both in this bar and analogous bar 86, does not seem to be Chopin's proofreading. According to us, it could have been a result of the engraver's misunderstanding of the combination of three articulation indications: a slur, tenuto marks and staccato dots. A slur actually designates also phrasing, while dots under a slur were generally used by Chopin to mark a lighter and shorter non legato.
It is the only example of the use of tenuto marks by Chopin in a notation dedicated for print (dashes are also present in the Concerto in E minor, Op. 11, mvt. II, bar 47, and Ballade in G minor, Op. 23, bars 194-198, in both places added in a pupil's copy). 

category imprint: Differences between sources

issues: Errors in GE , GE revisions