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b. 317-318

composition: (Op. 4), Sonata in C minor, Mvt IV

 in A (literal reading→GE→FE,EE,IE)

Long accents in A, contextual interpretation
..

In A each of the three  marks fills a half of a bar, which was repeated in GE (→FE,EE,IE), with minor inaccuracies. Such repeating  marks are generally long accents, hence in the main text we present them in this standardised form. An additional justification for such an interpretation is provided by the marks in analogous bars 108-109.
Similarly, in bars 321-322.

category imprint: Graphic ambiguousness; Editorial revisions

issues: Long accents

b. 317

composition: (Op. 4), Sonata in C minor, Mvt IV

..

In the main text we omit the unjustified  (cautionary?) to a in the 1st L.H. chord, present in all sources.

category imprint: Editorial revisions

issues: Cautionary accidentals

b. 318

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

No slur in A

4-quaver slur in GE1 (→FE→EE)

3-quaver slur in GE2
..

The absence of the last of the three-quaver slurs in the L.H. is almost certainly Chopin's oversight. The slur was added in GE1 (→FE→EE), by embracing the entire 2nd half of the bar with it. According to us, the addition can come from Chopin; however, it was most probably misinterpreted by the engraver. In GE2 the slur was shortened after previous figures, which we give in the main text as probably corresponding to Chopin's intention.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in GE , GE revisions , Authentic corrections of GE

b. 318

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

..

In the main text we add a cautionary  before g3.

category imprint: Editorial revisions

b. 318

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

No accidental (d3)  in FE (→EE,GE1→GE2)

 (d3) in GE3

 (d3), our alternative suggestion
..

There is no accidental before the penultimate semiquaver in the majority of the sources. When interpreted literally, it is a d3 due to the  before the 2nd semiquaver. This version, inconsistent notation (e2-d3) aside, implements the harmonic scheme of such figures in bars 315-318, using chord elements only, and we give it as such in the main text, adding a reminding  before the discussed note. However, one cannot exclude an oversight of the alteration's cancellation by Chopin, which is one of his most frequent mistakes. The version with d3, resulting from such an assumed mistake, continues the melodic and pianistic scheme defined in the two previous figures, which we suggest as an acceptable variant. 

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Omissions to cancel alteration , GE revisions