Issues : Inaccuracies in GE
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b. 29-31
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composition: Op. 21, Concerto in F minor, Mvt III
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The range of the slurs of the R.H. in A is beyond doubt, although none of them transcends the bar line (cf. the slurs in the L.H., written more accurately). The slurs of GE1 surprise with their inaccuracy, and the ones of FE (→EE) even more. The notation of A was interpreted correctly only in GE2. category imprint: Differences between sources issues: Errors in FE , Inaccuracies in GE , GE revisions , Errors repeated in EE |
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b. 29-32
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composition: Op. 21, Concerto in F minor, Mvt III
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Eight staccato signs on the first crotchets in these bars (in both hands) are clearly wedges in A (only the sign in the L.H. in bar 30 could be considered a dot, in another context). In spite of this, the editions reproduced them as dots, which is a simplification characteristic of the engraver of GE1, uncorrected in any of the remaining editions. The absence of the sign in the R.H. in bar 31 is a patent oversight of GE1 (→FE→EE). category imprint: Differences between sources issues: Inaccuracies in GE , Errors in GE , Wedges |
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b. 29-32
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composition: Op. 21, Concerto in F minor, Mvt III
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The notation of accents in A is clear and unambiguous – four long accents on the 3rd beat of each of the bars. In spite of this, the editions did not faithfully reproduce both the placement and the length of the signs. All changes in GE1 and FE are undoubtedly of an accidental nature, which, with a tightly packed text, leads to confusion and impedes the interpretation and reproduction of their notation. Sometimes, the accents start so close to category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE , Inaccuracies in FE , GE revisions |
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b. 53-55
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composition: Op. 21, Concerto in F minor, Mvt III
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In GE1, the ties of c2 were reproduced literally, as short, horizontal, little ties preceding the c2 crotchets at the beginning of bars 54 and 55. The notation was misunderstood in FE (→EE), by assigning the curved lines to the bottom notes of chords, g1-a category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , GE revisions |
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b. 55
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composition: Op. 21, Concerto in F minor, Mvt III
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The sign in A is undoubtedly a long accent on the 2nd beat of the bar, although due to the crossing-out in the part of the R.H., its relation to the corrected chord partly disappeared. It was most probably the reason for the erroneous reproduction of the sign in GE1 (→FE→EE) as a whole-bar category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , GE revisions |
& different accents in 
that it seems that both signs constitute a pair, accenting one strike together (Chopin would often use such combinations, but in this case 
pairs to be applying to the 2nd beat; the kind of employed accents is unobvious, but they are longer than, e.g. the signs in bars 24-26 and 28. 
1 in 
