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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

b. 297

composition: Op. 2, Variations, complete

Wedges in AsI & GE (→FE,EE)

Staccato dots in A
..

In the main text, we provide staccato dots inscribed in A. The wedges pencilled into #ApI are the first attempt at articulation marks here. On the other hand, the version of the editions must be the aftermath of the unjustified conviction of the engraver of GE1 that all staccato marks in the finale of the Variations are wedges.

category imprint: Differences between sources

issues: GE revisions , Wedges