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b. 360

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

No fingering in FE (→GE)

Fontana's fingering in EE
..

The finger swap marked by Fontana in EE emphasises the need for a strict realisation of the sustained bass notes in this and the next bars – see bars 361-363.

category imprint: Differences between sources

issues: EE revisions

b. 360

composition: Op. 31, Scherzo in B♭ minor

Arpeggio sign in A (→FE→EE)

No sign in FC (→GE)
..

The missing arpeggio in FC (→GE) seems to be an oversight. However, arpeggios are also missing in analogous b. 462 and similar b. 470; therefore, it cannot be excluded that arpeggios were added in A after the completion of FC.

category imprint: Differences between sources

issues: Errors of FC

b. 360

composition: Op. 31, Scherzo in B♭ minor

..

A (→FC→GE1, →FE→EE1) has a reminding  before g1. The mark, unnecessary in this context, was removed in GE2 (→GE3) and EE2 (→EE3). The same applies to b. 462.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions , Cautionary accidentals , Last key signature sign

b. 360

composition: Op. 2, Variations, complete

No signs in sources

[ ] suggested by the editors
..

In the main text we suggest   marks after analogous bar 346. Chopin wrote similar pairs of marks also in bars 342 and 356. According to us, these pairs of hairpins, as emphasising the brilliant nature of the bravura passages, are to be considered an integral part of notation. 

category imprint: Editorial revisions

b. 360

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

below L.H. in A

 over L.H. in GE (→EE)

No sign in FE

over L.H. in IE
..

In the main text we reproduce the  hairpin after A, under the L.H. passage. In GE (→EE,IE) it was moved to between the staves while changing its range, which was forced by the lack of space. In FE the mark was overlooked.

category imprint: Differences between sources

issues: Placement of markings , Scope of dynamic hairpins , GE revisions