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b. 486-487
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composition: Op. 21, Concerto in F minor, Mvt III
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There is no reason to doubt the authenticity of the accents added in the proofreading of FE (→EE) on c in bar 486 and on C in bar 487. In turn, it is not clear what kind of accents Chopin had in mind, since it is difficult to assume that he would have liked to differentiate between them. According to us, it is long accents that are more likely, since a shift of the shorter sign (in bar 486) may indicate that the accent written by Chopin was longer than the one printed in FE. However, it is only a suspicion, hence both the long accents suggested in the main text and the short accents in EE may be considered equal variants. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE inaccuracies , Authentic corrections of FE |
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b. 486
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composition: Op. 21, Concerto in F minor, Mvt III
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A (→GE1→FE1) features a d2 as the last quaver. At the same time, one can see that initially the entire last triplet was written a second lower – c category imprint: Interpretations within context; Differences between sources issues: Corrections in A , Errors resulting from corrections , GE revisions , Errors of A , Authentic corrections of FE |
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b. 487
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composition: Op. 21, Concerto in F minor, Mvt III
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FE features an A1 as the minim on the 2nd beat of the bar. If we take into consideration the piano part and this bar only, the note would be absolutely natural, yet in a broader context, it is obviously erroneous, since the stability of the bass note is out of the question in this place – cf. C-c in the double basses and cellos in Morch. The mistake was corrected in EE, most probably following the logic of the harmonic progression. Chopin did not notice this mistake both in the proofreading of FE (in spite of adding an accent!) and during lessons, which may mean that the pupil did not notice it either. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Terzverschreibung error |
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b. 487
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composition: Op. 21, Concerto in F minor, Mvt III
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The accent in A at the beginning of the bar, considered in the context of this bar, is long, yet compared with the marks in the two previous bars, it may also be interpreted as a short one. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
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b. 489-490
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composition: Op. 21, Concerto in F minor, Mvt III
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In this place, Chopin wrote a combination of trill with tremolando (cf. 1st mov., bar 335) in a precise manner, with notes, determining even the number of touches (in each bar 3 groups of 4). However, he committed a mistake while marking their value as demisemiquavers instead of semiquavers, which may suggest twice the number of required notes. This is how this mistake was revised in GE (→FE→EE), increasing the number of touches to 8 in each of the groups. It resulted in an unreasonable notation, since it is impossible to perform a thick tremolando in the tempo marked by Chopin, or even close to the Chopinesque one. category imprint: Interpretations within context; Differences between sources issues: GE revisions , Rhythmic errors , Errors of A |
1-d1-d2. Chopin corrected the first two quavers and most probably overlooked the third one, being in haste. Such a scenario is confirmed by the proofreading of 
