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b. 25

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

 in A & GE2

 in GE1

 in FE (→EE)

..

The  indication is written in A at the beginning of the bar. In GE1 it was placed between two chords, as a result of which FE (→EE) ascribed this indication to the 2nd beat of the bar. The authentic notation was restored in GE2.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , GE revisions

b. 25-26

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

 in bars 25-26 in A (→GE)

  in FE

 in bar 26 in EE

..

In FE (same as in our transcripts) bar 26 falls on a new line. The division of the  sign was performed in such a way that in both bars a respectively shortened  hairpin was printed (according to the then used earlier convention). EE overlooked the first sign.

category imprint: Differences between sources

issues: Inaccuracies in FE , Errors in EE , Hairpins denoting continuation

b. 26

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

Synchronization mark in FED

No mark in A (→GEFEEE)

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 26

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

Quavers in A (→GE)

Semiquavers in GE1 (→FEEE)

..

One can ponder whether Chopin did not try to change the notation of this ornament from small quavers to semiquavers: in bar 7 already in GE1 and here in FE (→EE). It cannot be excluded, yet taking into account the unobvious difference between two notations, we consider an inaccuracy of the engravers to be a more likely explanation of these changes.

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 26

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

Slur from 2nd quaver in A & GE2

Slur from 1st quaver in GE1 (→FEEE)

..

An earlier beginning of the slur in the L.H. in GE1 (→FEEE) is certainly a result of inaccuracy of the engraver.

category imprint: Differences between sources

issues: Inaccuracies in GE