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b. 297-299

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

2 accents in A & GE2

No marks in GE1 (→FE)

Accent in bar 297 in EE
..

The absence of the accents in bars 297 and 299 in GE1 (→FE) may be considered to be a result of the inaccuracy of the engraver or of Chopin's proofreading – see bars 293-295. The accent of EE in bar 297 is a revision performed after analogous bars 293 and 295 or a mistake. The signs in GE2 were added on the basis of A.

category imprint: Differences between sources

issues: EE revisions , GE revisions , Authentic corrections of GE

b. 297

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

Shorter  in A & EE

No sign in GE1 (→FE)

Longer  in GE2
..

The absence of the  hairpin in GE1 (→FE) may be an oversight of the engraver or Chopin's proofreading – see bars 293-295. The sign in EE may be a part of a revision unifying the markings after analogous bars 293 and 295. The sign in GE2 was added taking into consideration A, yet the range of the  was repeated after GE1 in bar 293.

category imprint: Differences between sources

issues: EE revisions , Scope of dynamic hairpins , GE revisions , Authentic corrections of GE

b. 297-299

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

..

In FE (→GE1→GE2), all octaves in the L.H. in bar 297 and the first two in bar 299 are written in an abbreviated manner (top notes with 8s under them). According to us, one of those digits – the last in bar 297 – was perhaps left by mistake, which is indicated by a comparison with analogous bar 69. However, we do not suggest that version here, since the entire Tutti shows numerous minor differences between the first and second time, whereas the aforementioned quaver is provided with a  mark in bar 297, which may be considered a justification of the sound enhanced with an octave.

category imprint: Differences between sources

issues: EE revisions , GE revisions , Abbreviated octaves' notation

b. 297

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

No marks in FE (→EE,GE1→GE2)

Staccato dots in GE3
..

The dots added in GE3 under the octaves in the L.H. in the 2nd half of the bar are an arbitrary revision of the editor.

category imprint: Differences between sources

issues: GE revisions

b. 297-298

composition: Op. 2, Variations, complete

Slur from e3 & 2 wedges in AsI

Slur to f3 & wedge f3 in A

Slur to e3 & 2 wedges in GE (→FE,FESB)

Slur to e3 & wedge f3 in EE
..

The ending of the slur of A reaching f3 was most probably added later, replacing the previous markings, analogous to the two preceding figures (staccato dot and slur to the last semiquaver in bar 297). It is unclear why this distinct notation was not reproduced by GE (→FE,EE). Perhaps it was influenced by the layout, in which bar 298 opens a new line. Chopin's intervention seems highly unlikely here.
The absence of the wedge in EE is most probably an oversight.
The unclear entry in AsI may be a superimposition of two versions – an earlier one with two wedges (which, apart from a different kind of staccato mark, corresponds to the original A version) and a later one in which e3-f3 are slurred which corresponds to the ultimate A version.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Corrections in A , GE revisions