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b. 351

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

 in FE (→GE) & EE3

No sign in EE1 (→EE2)

Interpretation of  suggested by the editors

Long accent, our alternative suggestion
..

When interpreted literally, the  in FE (→GE) is puzzling, since  denotes a local dynamic climax, after which one should rather expect a diminuendo, not to mention a crescendo on one note, problematic to perform on the piano. Therefore, we are probably dealing with an inaccuracy or even a mistake. One can imagine two possibilities – the mark was misplaced (e.g. moved to the right with respect to the notation of [A]) or reversed. In the main text, we are inclined to agree with the first possibility due to a similarly distorted  hairpin in the Concerto in F minor, op. 21, the 2nd mov., bar 84. The absence of the mark in EE1 (→EE2) seems to be an oversight, corrected in EE3. 

category imprint: Interpretations within context; Differences between sources

issues: Long accents , EE revisions , Errors in EE , Sign reversal

b. 351

composition: Op. 31, Scherzo in B♭ minor

on 2nd beat in A (→FE→EE)

mid-bar in FC

 at end of bar in GE
..

In the main text we give the  mark in the middle of the bar, as written by Chopin in FC (it is one of the possible interpretations of the notation of A). In turn, the version of GE may be considered an interpretation of the notation of FC, perhaps accurate, since  in FC is close to the next  (cf. also the pedalling of FC 4 bars later). 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccuracies in A , Authentic corrections of FC

b. 351

composition: Op. 31, Scherzo in B♭ minor

..

GE2 omitted a staccato dot to B in the L.H. – certainly an engraver's oversight. The mark was added in GE3.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 352-366

composition: Op. 39, Scherzo in C♯ minor

..

In EE a cresc. marking written out by a whole word and split into syllables. This is an example of a characteristic manner of this edition.

category imprint: Source & stylistic information

issues: EE revisions

b. 352

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

a2 in A (→GE)

d2-a2 in FE (→EE)
..

A more accurate specification of the unexpected B7 chord in the solo part already at the beginning of the bar must be a Chopinesque improvement introduced in the proofreading of FE (→EE). It is already a second change in this bar with respect to the earliest preserved version, after the rhythmic diversification – see the adjacent note. 

category imprint: Differences between sources

issues: Accompaniment changes , Authentic corrections of FE