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b. 136-137
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composition: Op. 11, Concerto in E minor, Mvt III
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Like in bars 128-129, the fingerings entered in FEH and given by Fontana in EE complement the Chopinesque printed indications. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
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b. 137-140
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composition: Op. 11, Concerto in E minor, Mvt III
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From bar 137 onwards, hence without a sensible relation to music, the staccato marks, with which FE (→EE,GE1→GE2) provided the bass quavers, change from wedges to dots. It applies to bars 137-138 and 140, since the marks we would expect in bars 141-142 do not appear in that sources (see the note on those bars; moreover, the first quavers in bars 138 and 140 are discussed separately). According to us, the change of marks is probably a result of an inaccurate interpretation of [A]. Due to this reason, in the main text we continue marking those quavers with wedges. Such a unification was introduced also in GE3 (to a lesser extent due to omissions of marks in bars 138 and 140). category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , GE revisions , Wedges |
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b. 138
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composition: Op. 11, Concerto in E minor, Mvt III
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Not only was the first quaver in GE1 (→GE2) provided with a staccato dot, repeated after FE, but also – erroneously – with an additional crotchet stem. The resulting nonsensical combination was entirely omitted in GE3. In the main text, we give a wedge in this place – see the note on bars 137-140. category imprint: Differences between sources; Editorial revisions issues: Errors in GE , GE revisions |
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b. 138-142
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composition: Op. 11, Concerto in E minor, Mvt III
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Having marked articulation of the sixth ending the passage in analogous bars 130 and 134 twice, Chopin could have considered it to be obvious in bars 138 and 142. In addition, taking into account the possibility of oversights, we suggest wedges in those bars in the main text. The marks were added also in GE3. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 139
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composition: Op. 11, Concerto in E minor, Mvt III
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The correctness of the version of FE (→EE) is confirmed by the sources of the orchestral part – MFrorch and FEorch, whereby the latter contains a cautionary category imprint: Differences between sources issues: GE revisions |
in 
before this note in cellos, after the g featured four bars earlier. The pupil's copies also do not indicate a possible oversight of a 
before the discussed note – Chopin did not introduce changes in any of them. Therefore, the natural added in