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b. 252

composition: Op. 21, Concerto in F minor, Mvt III

e1-a1 in A (→GE)

c1-a1 in FE (→EE)
..

The c1-a1 sixth is most probably a mistake of the engraver of FE (→EE). It is difficult to assume that Chopin would like to replace the sequence of three voices of the accompaniment, compliant with all rules, with a parallel shift of chords, sounding worse.

category imprint: Differences between sources

issues: Errors in FE , Terzverschreibung error

b. 252-255

composition: Op. 11, Concerto in E minor, Mvt I

No fingering in FE (→GE)

Fontana's fingering in EE
..  

category imprint: Differences between sources

issues: EE revisions

b. 252

composition: Op. 11, Concerto in E minor, Mvt I

..

In FE (→GE1→GE2), there is only a  mark in this bar. It may be a trace of a more serious mistake, encompassing half of the line (4 bars) – the mark is missing in bar 249, opening the line. However, taking into account the unquestionable pedalling indications in the subsequent bars, we assume that it was simply a  mark that was overlooked at the beginning of the bar in the discussed place. A corresponding mark was added already in EE and GE3.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , GE revisions , Errors repeated in GE

b. 252

composition: Op. 22, Polonaise

..

Just like in b. 232, all sources are lacking in the  restoring b2 at the beginning of the last triplet. 

category imprint: Interpretations within context; Editorial revisions

issues: Inaccuracies in FE , Omissions to cancel alteration , Errors repeated in GE , Errors repeated in EE

b. 252-260

composition: Op. 44, Polonaise in F♯ minor

Staccato dots in GE

No marks in FE (→EE)
..

Chopin could have entered staccato dots in b. 252 and 260 into [A] after Fontana had finished [FC].

category imprint: Differences between sources