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b. 144-152
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composition: Op. 11, Concerto in E minor, Mvt I
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The accents in bars 144 and 152 added in GE3, seemingly justified by the homogeneous structure of the figurations, do not have to correspond to Chopin's intention. Admittedly, indications serving as a model, which is valid by default in an entire similarly structured section, are a frequent phenomenon in Chopin's pieces (cf. e.g. pedalling in bars 187-193 as well as accents in the Etude in C major, op. 10, no. 1 or slurs in the L.H. in the Nocturne in D category imprint: Differences between sources issues: GE revisions |
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b. 144
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composition: Op. 11, Concerto in E minor, Mvt III
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The fingering of FED represents a characteristic Chopinesque ploy, i.e. passing the 4th finger over the 5th – cf. e.g. the 1st mov. of the Concerto, bar 293 or the Etude in A Minor, Op. 10 No. 2, bars 20-22. It puts into question – although it does not exclude it entirely – the authenticity of the differing fingering of FEH and EE. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Differences in fingering , Annotations in FEH |
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b. 144
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composition: Op. 38, Ballade in F major category imprint: Interpretations within context; Differences between sources issues: GE revisions , Errors of GC |
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b. 144
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composition: Op. 22, Polonaise
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The sources are lacking in the category imprint: Interpretations within context issues: Accidentals in different octaves , Inaccuracies in FE |
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b. 144
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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In the main text we add a cautionary category imprint: Editorial revisions |
major, op. 27, no. 1), yet in this context – descending sequences, ending with motifs of a more lyrical character (
rather does not apply to the end of the phrase in bar 146 if Chopin repeated it in bar 147) – omission of a few final marks may as well contain a suggestion to mitigate the virtuoso energy. Even the fact that for the first time two, and for the second, three accents are "missing" may be interpreted as an indication for a more pronounced diminuendo for the second time, which combines well with the course of harmonic tensions. 
rising c1 to c
1 in the L.H. The sign was added in 
before a1 at the beginning of the 2nd triplet and before a3 at the end of the bar. It is a consequence of the then rule of validity of accidentals in an octave resulting from the notation, and not from the actual pitch.