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Pedalling

b. 418-420

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

No fingering in FE (→GE)

Fontana's fingering in EE

..

In bars 418-419 and 420, Fontana recalls the fingering scheme of a characteristic figure in the L.H., marked in EE already in the previous phrase.

category imprint: Differences between sources

issues: EE revisions

b. 456

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

Fingering written into FEH

No teaching fingering

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 471

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

 in FE (→EE,GE1GE2)

 in GE3

..

In the majority of the sources, the ​​​​​​​ mark is placed inaccurately, although it is unclear what the reason for it was (cf. a more explicit situation in the previous bar). In the main text, we consider the revision of GE3 to be correct (but see the next note).

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in FE , GE revisions

b. 471

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

 before 3rd beat in FE (→EE,GE1GE2)

 at end of bar in GE3

..

The pedalling of GE3 could be possible, cf. the Scherzo in B​​​​​​​ minor, op. 31, bars 334-335 and analog., but in this case, there is no reason to doubt the authenticity of the  mark in the remaining editions.

category imprint: Differences between sources

issues: GE revisions

b. 479-480

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

No sign in FE (→GE,EE)

[] suggested by the editors

..

The missing ​​​​​​​ mark may have resulted from Chopin's inadvertence; however, it is also possible that the composer left the task of finding the right moment to release pedal to the discretion of the performer. According to us, pedal is to be held at least until the beginning of bar 479 and rather not longer than until the beginning of bar 480, which is suggested by two marks [], proposed in the main text.

category imprint: Editorial revisions

issues: No pedal release mark