Issues : Authentic corrections of GE
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b. 80
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composition: Op. 21, Concerto in F minor, Mvt II
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The missing dot over the last note in the bar in A seems to be an inaccuracy – perhaps ink did not come at the last sign. The dot was added already in GE1, which – although Chopin's proofreading cannot be excluded – was probably a routine action of the engraver (cf. bar 76). category imprint: Interpretations within context; Differences between sources issues: Authentic corrections of GE |
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b. 81
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composition: Op. 21, Concerto in F minor, Mvt II
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It is hard to decide whether the missing tie of c2 in GE1 (→FE→EE) is a result of the removal of the tie by Chopin or of the engraver's inaccuracy. The latter seems to be more likely, since there are no traces of deleting the tie; moreover, in the version of A the 1st half of the bar clearly differs from bar 32 (such differences are characteristic for Chopin). On the other hand, while proofreading the 2nd half of the bar in FE, Chopin did not restore the version with the tie, which can be considered a proof of acceptance of repeating the discussed note. In this situation, in the main text we suggest a variant solution. category imprint: Differences between sources issues: Authentic corrections of GE |
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b. 81
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composition: Op. 21, Concerto in F minor, Mvt II
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The slur in the L.H. was added in GE (→FE→EE), probably by Chopin – traces of corrections in print prove that he extended here the slur in the R.H., originally starting in GE1 only from demisemiquavers. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of GE , Corrected slurs of Op. 21 in GE1 |
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b. 82
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composition: Op. 21, Concerto in F minor, Mvt II
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It is uncertain whether the tie of the minim in GE1 (→FE→EE) was overlooked or removed by Chopin. According to us, the first possibility is more likely; however, in the main text we suggest a variant solution. category imprint: Differences between sources issues: GE revisions , Authentic corrections of GE |
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b. 83
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composition: Op. 21, Concerto in F minor, Mvt II
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Same as in analogous bar 15, the slur embracing the bass motif, added in GE1, most probably comes from Chopin. category imprint: Differences between sources issues: Authentic corrections of GE |
2 tied in 
