Issues : Errors in GE
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b. 41-43
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composition: Op. 21, Concerto in F minor, Mvt III
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The missing wedges at the beginning of bars 41 and 43 are certainly a result of inaccuracy (haste) of the engraver of GE1 – both cases are perfectly clear in A (the sign in bar 41 probably originated by the addition of the correct wedge to the nucleus of the slur, which Chopin then started from the semiquaver). In GE2, only the sign in bar 43 was included, interpreting it as a dot. In the main text, we suggest adding signs in the L.H., since a homogeneous articulation of both hands is beyond doubt. category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 48
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composition: Op. 21, Concerto in F minor, Mvt III
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The middle note of the 2nd chord in GE1 (→FE1) is an erroneous b category imprint: Differences between sources issues: Errors in GE , Authentic corrections of FE , Errors repeated in FE |
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b. 53-54
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composition: Op. 21, Concerto in F minor, Mvt III
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It is not entirely certain what kind of accents Chopin had in mind after category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Errors in GE |
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b. 54-55
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composition: Op. 21, Concerto in F minor, Mvt III
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It is hard to ascertain whether the staccato dot at the beginning of bar 54 was overlooked by the engraver or deleted as part of a revision (Chopin's correction?) comprising also a change in slurring of bars 54-56. In the main text we maintain the notation of A and suggest analogous articulation – staccato dots – for the identical pair of chords a bar later. Similarly in bars 57-59. category imprint: Differences between sources; Editorial revisions issues: Errors in GE , GE revisions |
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b. 55-56
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composition: Op. 21, Concerto in F minor, Mvt III
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Replacing the tie of c3 with an e2-f2 phrase mark is a result of a misunderstanding of A by the engraver of GE1 (→FE→EE). The correct text was restored in GE2. Cf. bars 53-55. category imprint: Differences between sources issues: Errors in GE , GE revisions |
1 (instead of c2 present in 
marks. The accents are longer than those in bars 57-58, yet it does not seem that it would be a significant difference. In turn, they are clearly different than the typical long accent in bar 55. Since the accents in analogous bars 57-58, 397-398 and 401-402 are clearly short, in the main text we adopt short accents. Subsequent omissions of accents in 
