Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Rhythm
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main


Rhythm

b. 41

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

..

We preserve the source notation of this figure using semiquavers. It cannot be excluded that Chopin heard here a quaver triplet divided into semiquaver triplets, which is compatible with the natural shape of the melodic structure of this group.

See the 1st mov., bar 93.

category imprint: Source & stylistic information

b. 43

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

..

In the main text we add markings of the irregular rhythmic group, omitted in the majority of the sources, most probably by inadvertence: the vast majority of this kind of groups was marked by Chopin in accordance with the rhythmic orthography requirements. Relevant digits were added only in GE2.

category imprint: Editorial revisions

issues: GE revisions

b. 50

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

Crotchets in A

Dotted crotchets in GE (→FEEE)

..

The version of the editions is almost certainly erroneous – perhaps the engraver of GE mistook the hastily written minim rests of the solo part for dots extending the crotchets. 

FE overlooked the minim rest of the R.H.

If in bar 45 the version with the harmonic accompaniment was selected, the first version is to be selected here.

category imprint: Differences between sources

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

b. 54-61

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

..

In the main text we add indications of irregular rhythmic groups overlooked in the sources in bars 54, 58 and 61. See also bars 62 and 63.

category imprint: Editorial revisions

b. 58

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

..

In the part of the R.H. one can see in A a correction of the rhythmic notation on the 2nd beat of the bar – the 2nd and 3rd notes of the triplet had a semiquaver beam, whose top line was erased afterwards. The changes most probably spanned the entire 1st half of the bar, originally consisting of a dotted crotchet and two semiquavers, which Chopin skillfully corrected, avoiding, so far as possible, deletions and erasures. 

category imprint: Corrections & alterations

issues: Corrections in A