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b. 275

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

No indication in FE (→EE,GE1→GE2)

a tempo in GE3
..

The a tempo indication added in GE3, in spite of its evident accuracy, certainly does not come from Chopin. 

category imprint: Differences between sources

issues: GE revisions

b. 275

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

No mark in sources

Staccato dot suggested by the editors
..

In the main text, we add a staccato dot also for the chord in the L.H. Such an articulation is unquestionable; in similar contexts, Chopin would often consider marks over the R.H. to be valid also in the L.H.

category imprint: Editorial revisions

b. 275-276

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

Dot & wedge in FE (→EE,GE1→GE2)

Two wedges in GE3

Wedge & dot suggested by the editors
..

The articulation markings in these bars are questionable. We consider the dot over the last b1 in bar 275 to be a patent mistake – attenuating the energy contained in this characteristic, octave gesture opening the theme seems to be inconceivable. However, it is unclear whether and which note the dot was supposed to apply to – the potential candidates are the previous quaver (b3) and the 2nd quaver of bar 276 (e2), which are generally provided with staccato marks in the remaining appearances of the theme. In our proposal, we take into account usefulness of an added mark – in bar 276, it clarifies articulation, which does not naturally follow from the hand position like it is in the case of b​​​​​​​3, after which the hand must be moved quickly anyway. A similar solution was adopted in GE3; it can be considered an alternative to our proposal. 

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 275

composition: Op. 44, Polonaise in F♯ minor

..

In the main text we add cautionary naturals to the D-d octave.

category imprint: Editorial revisions

b. 275-283

composition: Op. 2, Variations, complete

Dots & wedges in A

Wedges in GE (→FE,EE)
..

In the main text we keep the notation of A, in which Chopin precisely and consistently differentiated between the types of staccato markings in the L.H., saving wedges for the bass notes only. This subtlety was not preserved by GE (→FE,EE), in which all markings were reproduced as wedges. See also bar 276 and 279.

category imprint: Differences between sources

issues: Inaccuracies in GE , Wedges