Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main


b. 327

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

Grace note c2 in A (→GE) & EE

Grace note a1 in FE

..

The version of FE, although generally possible, is most probably a mistake – cf. bar 3. It was considered a Terzverschreibung error already in EE.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Terzverschreibung error

b. 327

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

No L.H. slur in A (→GE1FEEE)

Slur in GE2

..

The slur of GE2 was probably added due to the slur in the previous bars.

category imprint: Differences between sources

issues: GE revisions

b. 327

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

..

Two cautionary signs were added in EE – a  before e1 and a  before g1. In the main text we include the latter; moreover, we add a  before b

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 327

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

..

In the main text, we add cautionary naturals before a2 and b1 (the last semiquaver) and omit the  before gpresent in the sources. The first of the naturals was added already in GE and EE2 (→EE3), whereas the second – in EE and GE3. Moreover, both GE and EE include a cautionary  before c4

category imprint: Differences between sources; Editorial revisions

issues: Cautionary accidentals

b. 327-328

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

  under L.H. in FE (→EE)

 under L.H. in GE1 (→GE2)

 between staves in GE3

  between staves, our alternative suggestion

..

The missing  hairpin is probably an oversight of the engraver of GE, although one cannot exclude the possibility that the mark was added in the last proofreading of FE.
Just like in the case of crescendo in bar 323, one can assume that the fact that both   marks were placed under the L.H. part resulted from lack of space in [A], since in this case, the hairpin emphasises the topmost point of the sequence, which would be much more legible if it were placed next to the moving part of the figuration, hence between the top notes of the L.H. and the R.H. part. This is how the  hairpin in bar 328 was interpreted in GE3. We suggest this solution, including both marks, as a variant.

category imprint: Differences between sources; Editorial revisions

issues: Errors in GE , GE revisions