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b. 386

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

No fingering in FE (→GE)

Fontana's fingering in EE

category imprint: Differences between sources

issues: EE revisions

b. 386

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

..

The ​​​​​​​ omitted in FE before the 1st semiquaver was added both in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions

b. 386

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

Various accents in A

Short accents in GE (→FE,EE,IE)

..

The change of the arrangement of the accents in GE (→FE,EE,IE) probably resulted from the conviction of the engraver of GE that the first mark concerns the b1 note in the R.H., which does not stem from the A notation at all. In the main text we convey the difference in the size of the marks by using various types of accents. In GE the marks differ in their size, but it seems to be accidental, which is proven by the remaining editions based on GE, in which the marks are practically identical.

category imprint: Differences between sources

issues: Long accents , Inaccuracies in GE , GE revisions

b. 386

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

Three parts in A (→GEFE,EE1,IE)

Two parts in EE2

..

In EE2 the three-part A notation (→GEFE,EE1,IE) was simplified to the two-part notation. This version, undoubtedly arbitrary, practically – considering the fast tempo, authentic accents and natural pedalling – does not differ from the Chopinesque notation in terms of sound.

category imprint: Differences between sources

issues: EE revisions

b. 387

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

Wedge in A

No mark in GE1 (→FEEE)

Dot in GE2

..

The omission of the wedge must be an oversight of GE1 (→FEEE). The staccato sign – in the form of a dot – was added in GE2.

category imprint: Differences between sources

issues: Errors in GE , GE revisions , Wedges