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b. 597

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

..

In the main text, we add cautionary naturals before the 1st octave.

category imprint: Editorial revisions

b. 597-598

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

 in FE (→GE1→GE2)

 ​​​​​​​ in EE & (GE3)

[] suggested by the editors

[    ], our alternative suggestion
..

The missing  mark may be, but does not have to, a mistake of FE or an inaccuracy of [A]. However, since the previous appearances of this phrase offer two variants of a more detailed Chopinesque pedalling, we suggest respective additions; moreover, we adopt the indication modelled on bars 246-247, being a strict transposition of the discussed bars, in the main text. A ​​​​​​​ mark was added also in EE and GE3. 

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions , No pedal release mark

b. 597-598

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

No fingering in FE (→GE)

Fontana's fingering in EE
..

category imprint: Differences between sources

issues: EE revisions

b. 597-598

composition: Op. 31, Scherzo in B♭ minor

in A

in FC & FE (→EE)

in GE
..

In accordance with the analysis of the Chopinesque  or  marks in this and analogous pairs of bars (see b. 6-7), in the main text we give the averaged, more or less one-bar hairpin of FC and FE (→EE). According to us, all hairpins, regardless of their actual length, are to be interpreted as long accents.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , Inaccuracies in FC

b. 598-600

composition: Op. 39, Scherzo in C♯ minor

..

In FE the dynamic hairpin is placed above the RH part, which  may be a practical solution applied by the engraver. The  mark is split into two parts dues to the barline of b. 599.

category imprint: Source & stylistic information

issues: Hairpins denoting continuation