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b. 329

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

No sign in A (→GE)

 in FE (→EE)
..

The  sign may be a mistake of the engraver of FE (→EE). However, Chopin's proofreading cannot be entirely excluded: it may be that the composer wanted to prevent the next fragment from being performed without pedal or, which is more likely, he was thinking about a short pedal encompassing the octave leap of the top voice in the R.H.

category imprint: Differences between sources

issues: Errors in FE , Authentic corrections of FE , No pedal release mark

b. 329-330

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

f1 repeated in A (→GE→FE→EE1→EE2)

f1 tied in EE3
..

The tie of f1 in EE3 was most probably added on the basis of analogy with bars 5-6; EE features such a version in these bars. 

category imprint: Differences between sources

issues: EE revisions

b. 329

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

..

The traces of removing the third , visible in FE, prove that it was  that was the original dynamic marking in this place.

category imprint: Corrections & alterations; Source & stylistic information

issues: Authentic corrections of FE

b. 329

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

..

In the main text we add a cautionary  before the trilled f3 minim. The mark was added already in GE.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 329-332

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

No fingering in FE (→GE)

Fontana's fingering in EE
..

Fontana suggests the use of the 5-4-3-1- fingers, which is typical of him. Such a fingering corresponds to the hand position, yet it requires independent and strong 3rd and 4th fingers – cf. the Etude in C major, op. 10 no. 1.

category imprint: Differences between sources

issues: EE revisions