Issues : Inaccuracies in FE
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b. 453
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composition: Op. 11, Concerto in E minor, Mvt I
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The type of accents used by Chopin does not unambiguously result from the notation of FE – the marks are longer than the definitely short accents (e.g. in bars 474-476) and placed slightly after the notes, which may be an argument for long accents. In the main text, we give short accents, since they seem to be more natural in this context. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in FE |
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b. 460
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composition: Op. 11, Concerto in E minor, Mvt I
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Division of the slur before the 2nd beat of bar 460 must be an inaccuracy of FE (→EE), since wherever analogous passages in the L.H. are encompassed with a slur (bars 452, 456 and 458), it always starts from the first, topmost note of the passage. In GE1 (→GE2), an attempt at proofreading the slurs was probably taken; however, the beginning of the second slur was moved inaccurately, on the 2nd semiquaver. Completely correct slurs, compliant with the natural shape of the figuration, were introduced in GE3. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , GE revisions |
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b. 470
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composition: Op. 11, Concerto in E minor, Mvt I
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It is difficult to say whether FE includes a dot extending the B category imprint: Graphic ambiguousness; Differences between sources issues: Different values of chord components , Inaccuracies in FE |
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b. 470
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE (→EE,GE1→GE2), the pedalling marks must be inaccurate in this place. It is the category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , GE revisions |
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b. 471
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composition: Op. 11, Concerto in E minor, Mvt I
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In the majority of the sources, the category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , GE revisions |
minim, since a possible mark is blurred. 
mark, placed clearly after the bass octave, that may be particularly misleading. This was most probably caused by the low-placed bass note whose stem points downward, which hampered the notation. In turn, the 
mark was placed before the end of the ascending passage, which, even if it corresponds to the notation of [A], must be considered an inaccuracy. A natural pedalling encompassing the entire bar was introduced in 
