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b. 298-300

composition: Op. 2, Variations, complete

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In R.H. figurations Chopin considers accidentals to be valid also in adjacent octaves. Therefore, in A there are no flats to the 9th, 12th and 15th semiquavers in bar 298 (a2, d3, g3), the 14th semiquaver in bar 299 (d3) and the 2nd and 18th semiquavers in bar 300 (d1, c1). All necessary flats were added already in GE (→FE,EE).
There are more accidentals in #ApI than in A, both necessary (3rd, 4th and 6th among those mentioned above, with the omitted flats to d2 in bar 299 and to a1 in bar 300), and unnecessarily repeated ones (flats to g2 at the end of bar 298 and to c2 on the 3rd beat of bar 300, and also a  to a2 in bar 299), as well as a cautionary  to a1 in bar 299).

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 298-301

composition: Op. 2, Variations, complete

Fingering in AsI

No fingering in A (→GE→FE,EE)
..

In the main text we include, in a variant form (in brackets), the fingering pencilled by Chopin into AsI. Even if Chopin consciously abandoned it while preparing the Variations for print, according to us, it has a similar value as the fingering entered into teaching copies.

category imprint: Differences between sources; Editorial revisions

b. 298

composition: Op. 49, Fantaisie in F minor

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In FE1 the 2nd quaver is a d1. The mistake was corrected – perhaps at Chopin's request – in FE2.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , FE revisions

b. 299

composition: Op. 39, Scherzo in C♯ minor

 in EE and GC (→GE)

No marking in FE
..

 is missing from FE, which is probably an accidental omission. 

category imprint: Differences between sources

issues: Errors in FE

b. 299-300

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

 in A (→GE)

No sign in FE (→EE)

 [] [] suggested by the editors
..

The missing  sign in A (→GE) can be Chopin's oversight; however, it is not entirely clear where it is to be added. The pedal is certainly to be held at least for a half of the bar, yet probably much longer. The signs suggested by us determine a section in which a pedal's release sounds most naturally (it is best to do it gradually as the so-called diminuendo pedal).
Leaving out the pedalling in FE (→EE) is certainly a mistake.

category imprint: Differences between sources; Editorial revisions

issues: Errors in FE , No pedal release mark