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b. 272-273

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

 in FE (→GE1→GE2)

   in EE

No pedalling in GE3

Our variant suggestion
..

The missing  mark does not have to be considered a mistake – such a notation is to be found on several occasions in Chopin's pieces (e.g. in the autograph of the Etude in D​​​​​​​ Major, Op. 25 No. 8, bars 19-20). The marks we suggest are the earliest and latest possible – due to harmonic reasons – moments of pedal release. It was already EE that considered the notation of FE to be inaccurate; in turn, an additional omission of the  mark is probably a mistake of GE3. 

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Errors in GE , No pedal release mark

b. 272-278

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

Fingering written into FEH

No teaching fingering
..

The fingering, adjusted to the accompaniment's scheme enabling strict legato, was entered in FEH in bar 272 and recalled in bar 278.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 273

composition: Op. 42, Waltz in A♭ major

e in FE & EE

Octave in FEG (→GE)
..

In FEG (→GE) Chopin enhanced the sound of the 1st crotchet by adding the E octave. In the bass FE and EE have only an e. 

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of GE

b. 273

composition: Op. 42, Waltz in A♭ major

..

The  indication only appears in FEG (→GE).

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of GE

b. 273-276

composition: Op. 42, Waltz in A♭ major

No pedalling in FE0 (→EE) & FEG (→GE)

Pedalling in FE1
..

As in bar 261 Chopin wrote the pedalling in those bars only in the proofs of FE.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE