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Rhythm

b. 330-331

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

b-d1 repeated in A (→GE)

b-d1 tied in FE (→EE)

..

The tie of the b-dthird is probably a Chopinesque correction, introduced in the proofreading of FE (→EE).

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 331

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

Minims in A & FE

Dotted minims in GE & EE

..

The missing dots extending the b-dthird in FE may mean that they could have been added in the last phase of proofreading of GE1. The authenticity of this addition is questionable (same as of a similar change in EE).

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 335

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

..

For how to understand Chopin's rhythmic notation see bar 27.

category imprint: Interpretations within context; Source & stylistic information

b. 340-341

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

f1 repeated in A

f1 tied in GE (→FEEE)

..

According to us, the most likely explanation of the presence of the tie of fin the editions is the engraver of GE1 having mistaken the accent for a tie (other possibility is moving the slur written in A over the top voice under the stave). Chopin did not use any of a few opportunities to extend a common note of chords in the entire Tutti (also in the exposition, bars 16-24).

category imprint: Differences between sources

issues: Errors in GE

b. 344

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

Dotted rhythm in A

Quavers in GE (→FEEE)

..

The dotted rhythm in A is the original version (cf. analogous bar 20), left here by Chopin, perhaps unintentionally. Therefore, the quavers in GE (→FEEE) may be a result of Chopin's proofreading, although the absence of visible traces of performing changes in print allows us to consider a possible mistake of the engraver.

category imprint: Differences between sources

issues: Authentic corrections of GE , Omitted correction of an analogous place