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b. 329

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

 in A, literal reading

 in GE (→FE→EE)

 in A, contextual interpretation
..

According to us, the  indication is to be interpreted as valid already from the beginning of the bar. It is one of examples of the manner of introducing indications within the scope of their validity, used sometimes by Chopin, particularly in his earlier works. In GE (→FE→EE)  was most probably linked with the entrance of the L.H.  

category imprint: Differences between sources

issues: Inaccuracies in GE , Centrally placed marks , Inaccuracies in A

b. 329

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

No sign in A (→GE)

 in FE (→EE)
..

The  sign may be a mistake of the engraver of FE (→EE). However, Chopin's proofreading cannot be entirely excluded: it may be that the composer wanted to prevent the next fragment from being performed without pedal or, which is more likely, he was thinking about a short pedal encompassing the octave leap of the top voice in the R.H.

category imprint: Differences between sources

issues: Errors in FE , Authentic corrections of FE , No pedal release mark

b. 329-330

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

f1 repeated in A (→GE→FE→EE1→EE2)

f1 tied in EE3
..

The tie of f1 in EE3 was most probably added on the basis of analogy with bars 5-6; EE features such a version in these bars. 

category imprint: Differences between sources

issues: EE revisions

b. 329

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

..

The traces of removing the third , visible in FE, prove that it was  that was the original dynamic marking in this place.

category imprint: Corrections & alterations; Source & stylistic information

issues: Authentic corrections of FE

b. 329

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

..

In the main text we add a cautionary  before the trilled f3 minim. The mark was added already in GE.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions