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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

b. 299-300

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

..

In A Chopin forgot to return the bass clef in bar 300. GE1 overlooked also the treble clef in bar 299. The mistakes were corrected – perhaps by Chopin – in FE (→EE). GE2 also includes the correct text.

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE , GE revisions , Errors of A , Authentic corrections of FE

b. 299-300

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

Short accents in A (→GE→FE)

Vertical accents in EE
..

The change of the font of the accents in the R.H. in bars 299-300 is an example of a characteristic discretion of EE.

category imprint: Differences between sources

issues: EE revisions

b. 299

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

No sign in A (→GE→FE)

Longer  in EE

Shorter , our alternative suggestion
..

We give the version of A (→GE→FE) in the main text, since the absence of  may be considered a subtle indication that it is already bars 299-300 that are to be performed slightly milder. However, allowing the possibility that Chopin committed a mistake, we suggest an alternative proposal, i.e. adding a  hairpin by analogy to bars 293, 295 and 297. The accent over c1, written in this bar in A, suggests that Chopin envisaged a gradual attenuation of the expression of this motif only from bar 301, together with rallentando. Cf. bars 293-295. The sign in EE is most probably a part of a revision unifying the markings after analogous bars 293 and 295.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions