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Op. 21, Concerto in F minor, Mvt III

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b. 481

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

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In the last chord in the L.H., A does not have signs returning g and b. This patent inaccuracy, probably caused by crossings-out and changes (the crossed out chord sounded e-a-c1-g1), was corrected already in GE (→FE→EE). EE added also a cautionary  before g3.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , Omissions to cancel alteration , Errors resulting from corrections , GE revisions , Errors of A

b. 482

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

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The cautionary  before e3 written in A (→GE1) is probably a remaining element of the original notation, in which the previous chord included e3. In FE (→EE) and GE2 the unnecessary sign was removed. EE added cautionary naturals before g1 and g2.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions , Cautionary accidentals

b. 484

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

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We add a flat before b in the main text after the authentic cautionary  before b3.

category imprint: Editorial revisions

b. 485

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

c4 & c3 in A (literal reading→GE)

Thirds in A (contextual interpretation) & FE (→EE)
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The absence of a3 and a2 on the 1st and 4th quavers in the bar in GE must be attributed to an extremely inaccurate notation of A in this respect; according to us, Chopin did write these notes in that place, yet, being in haste, he did not check whether they are visible in the place where the stems overlap with ledger lines. The fact that both notes were added in the proofreading of FE (→EE) dissipates all doubts regarding the composer's intention. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Authentic corrections of FE , Uncertain notes on ledger lines , Inaccuracies in A

b. 485-486

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

 &  in A, literal reading

 & > in A, contextual interpretation

 & > in GE1

 & > in FE

 &  in EE

 in GE2
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According to us, the virtuoso panache and brilliance require rather accents than diminuendos, hence in the main text we interpret all marks of A as accents (long and short). The  marks printed in GE (→FE→EE), even longer than in the notation of A, hinder the interpretation of a possible intention of the composer even more. Shift of the accent at the end of bar 485 must be an inaccuracy of the engravers of GE1 and FE1.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , Errors in GE , EE inaccuracies