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b. 57-58
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composition: Op. 21, Concerto in F minor, Mvt III
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The accents, this time placed in A over the c2 minims, were most probably overlooked in GE1 (→FE→EE) (however, it cannot be excluded that the engraver omitted them while he was uncertain what they meant – e.g. if he was expecting rests in this place, he could have considered them quaver rests, which did not fit in with the remaining elements of the notation). GE2 precisely repeated the notation of bars 53-54 (see also the note on articulation in bars 57-59). category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 57
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composition: Op. 21, Concerto in F minor, Mvt III
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The notation of the last chord in the R.H. in A is surprising – over three g1-e2-g2 notes there is also a fourth one, more or less at the pitch of c3 or d3, but devoid of ledger lines, so it is unknown what note it should represent. At the same time, it is not one of the blots copied from the adjacent page, of which there are several in the next bars. According to us, it is a mistakenly boldened random ink spill or a staccato dot. The latter seems to be supported by the presence of such a dot in GE1; however, the dot in GE1 may be explained by another kind of mistake – see the adjacent note. category imprint: Source & stylistic information |
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b. 59
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composition: Op. 21, Concerto in F minor, Mvt III
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In A, there is a visible correction of the middle note of the 2nd crotchet in the R.H. from f2 to e category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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b. 59
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composition: Op. 21, Concerto in F minor, Mvt III
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In the main text we add a cautionary category imprint: Differences between sources; Editorial revisions |
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b. 63-64
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composition: Op. 21, Concerto in F minor, Mvt III
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Replacing the single f1 note with an f-f1 octave in FE (→EE) is certainly a change introduced by Chopin – cf. 1st mov., bar 348. However, the same cannot be said of printing this octave with notes of a normal size, in both bars. There had to be a misunderstanding at the time of implementing the proofreading, since adding this octave to the solo part is unimaginable, as far as the logic of the dialogue between the soloist and the orchestra is concerned. category imprint: Differences between sources; Corrections & alterations issues: Errors in FE , Errors resulting from corrections , Authentic corrections of FE |
2. The correction was certainly introduced after ½A had been completed, which is clearly indicated by different ink and the manner of writing, emphasising the fact of a correction. An identical change, in the same way, was introduced in analogous 
before e
