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b. 480
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composition: Op. 21, Concerto in F minor, Mvt III
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In the main text we preserve the notation of A, which may suggest a more pronounced accentuation of the 3rd beat of the bar as the topmost point of the passage. Cf. bar 478. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 481-484
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composition: Op. 21, Concerto in F minor, Mvt III
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A has only dashes marking the range of an unspecified indication in these bars, most probably cresc. from bar 469 – see bars 475-480. The cresc. marking, appearing in GE (→FE→EE) at the beginning of bar 481, was added probably by Chopin as proofreading of incomplete indications of A, hence we give it in the main text. category imprint: Differences between sources issues: Inaccuracies in FE , Errors of A , Authentic corrections of GE |
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b. 481
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composition: Op. 21, Concerto in F minor, Mvt III
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The missing arpeggio mark in A before the 1st chord in the L.H. is a patent mistake, corrected already in GE (→FE→EE). category imprint: Interpretations within context; Differences between sources issues: GE revisions , Errors of A |
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b. 481-483
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composition: Op. 21, Concerto in F minor, Mvt III
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The crossings-out visible in A allow us to read the original version, in which the L.H. had the same chords as the R.H., continuing the relationship marked by the 1st chord of the entire passage. Chopin wrote four subsequent chords (to the second one in bar 482) before he changed the concept or noticed his mistake. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Accompaniment changes |
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b. 481
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composition: Op. 21, Concerto in F minor, Mvt III
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We preserve the cautionary category imprint: Editorial revisions; Corrections & alterations issues: Corrections in A , Cautionary accidentals |
in 
before a2 in the 2nd chord of the bar, due to a
in the previous bar. However, Chopin most probably wrote it to cancel a
2, used in the original version of the notation of the 1st chord. In the main text we also add a cautionary