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b. 137

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

No indication in A (→GEFE)

Fl. in EE

[Flauto] suggested by the editors

..

In the main text we suggest adding information about the instrument playing the solo melodic figuration. A relevant indication was added already in EE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 141-144

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

..

In the main text we give the version of A (→GEFEEE). However, Morch has a different rhythmic and articulation solution in the viola and cello parts:

.
Chopin most probably diversified this four-bar section in the versions for solo piano and with orchestra on purpose, taking into consideration the difference between the sound of piano and strings (it is the only case in both Concertos).

category imprint: Differences between sources; Source & stylistic information

b. 141-144

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

R.H. dots in A

Dots in both hands in GE1 (→FEEE)

Dots in both hands in GE2

Dots in both hands suggested by the editors

..

In A, Chopin marked staccato only over the part of the R.H., which is undoubtedly valid for both hands in the context of this texture. In GE1 (→FEEE), dots were printed only in bar 142, moved to the side of note heads (very frequent, routine intervention of engravers), and they were also added under the L.H. Oversight of the dots in bar 141 and 143-144 certainly stems from the engraver's carelessness, whereas addition of signs for the L.H. could have been ordered by Chopin. GE2 added the overlooked dots – in both hands – in bars 143-144. In the main text we present a similar solution, including signs on the last crotchet in bar 141.

category imprint: Interpretations within context; Differences between sources

issues: Placement of markings , Errors in GE , GE revisions , Authentic corrections of GE

b. 145-160

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

No L.H. slurs in A (→GE1FE)

L.H. slurs in EE

L.H. slurs in GE2

..

In the entire section, Chopin wrote only one slur in the part of the L.H. in A, in bar 146. The fact that he then resigned from repeating the slurs written in the R.H. is proved by the notation of bar 160, opening a new page in A: in the part of the L.H. one can see there a deletion of a slur reaching the a minim and suggesting continuation from the previous bar. Therefore, the decision to add slurs, which were introduced in the entire section in EE (apart from bar 157) and GE2, was arbitrary, and it almost certainly does not correspond to Chopin's intention. Moreover, the added slurs differ between EE and GE2, since each of them copied the slurs of the R.H., which in EE generally correspond to the slurs of GE1, whereas in GE2 – to the slurs of A (cf. bars 152156157-158 and 159).
In the main text we preserve the notation of A. We discuss more complex situations from the point of view of sources in bars 146-148148 and 154 and 151 separately. 

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 146-148

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

2 slurs in A & GE2

Slur from b1 in GE1

Slur from e1 in FE (→EE)

..

Combining the slur beginning in bar 146 with the next one is a patent mistake of GE1 (→FEEE). It is one of many examples of flagrant ignorance of the notation of A, since the slurs in the manuscript are unambiguous. The correct slurs were restored in GE2. In FE (→EE), the mistake of GE1 was complemented with an inaccurate beginning of the slur in bar 146, which, next to the oversight of a staccato sign in this bar, completely distorted the vision of phrasing of the beginning of this bar.

category imprint: Differences between sources

issues: Errors in GE , GE revisions