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b. 332

composition: Op. 49, Fantaisie in F minor

No sign in A (→GE)

in FE (→EE)
..

Not being certain whether the  mark added by FE (→EE) is authentic or not, we do not include it in the main text. Lonely  marks at the end of pieces are quite frequent in Chopin's works (cf. the Prelude in A, Op. 28 No. 7, bar 16).

category imprint: Differences between sources

issues: FE revisions , No pedal release mark

b. 333

composition: Op. 39, Scherzo in C♯ minor

..

In FE there is no  augmenting b to b. This is obvious  inaccurracy in Chopin's notation, as when he wrote this bar in [A2] he was convinced that the change of key signatures had already taken place.

category imprint: Differences between sources

issues: Errors in FE , Omission of current key accidentals

b. 333

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

..

In GE3, the semiquavers in both hands were written in an abbreviated manner as tremolandi.

category imprint: Differences between sources

issues: GE revisions

b. 333

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

Quaver d​​​​​​​1 in FE (→GE) & EE3

Crotchet d​​​​​​​1 ​​​​​​​in EE1 (→EE2)
..

The version of EE1 (→EE2) must be arbitrary and pianistically unjustified – d​​​​​​​1 is anyway performed in the R.H. on the 4th quaver. The authentic notation was restored in EE3. See also bar 335.

category imprint: Differences between sources

issues: EE revisions

b. 333

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

..

EE1 (→EE2) is missing the cautionary  before f​​​​​​​1. The accidental, present in FE (→GE), was added also in EE3. In an analogous situation 2 bars later, a respective  is present in all sources.

category imprint: Differences between sources

issues: EE revisions , Errors in EE , Cautionary accidentals