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b. 365-366

composition: Op. 2, Variations, complete

  in AsI

  in AsI

No signs in A (→GE→FE,EE)
..

It is difficult to say whether Chopin consciously omitted the dynamic hairpins emphasising the line of this brilliant passage while writing A. Perhaps their omission should be linked to the change of  to  at the beginning of bar 365 – see the respective note. According to us,  and  marks can be included regardless of the general dynamic level.
As in the previous bar, we place the hairpins of AsI between the staves. 

category imprint: Differences between sources; Corrections & alterations

b. 365

composition: Op. 2, Variations, complete

in AsI

 in A (→GE→FE,EE)
..

The  in AsI is not written very clearly – it cannot be ruled out that the mark was supposed to be removed and perhaps replaced by  in bar 367. Incidentally, these are first indications marking the absolute dynamic level in the entire Alla Polacca finale (there is only one more  in bar 375). In the main text we naturally provide , present in A and in the editions and constituting an element of a thought-out, holistic dynamic concept.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

b. 366

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

d in chord in A & GE2

B in chord in GE1

B alone in FE (→EE1) & EE3

Sixth in EE2
..

Both the change introduced in GE1 and the one in FE definitely come from Chopin who was looking for the smartest connection of this bar with the following one, as far as the piano skills and harmony are concerned. At the same time, he most probably wanted to emphasise the chromatic movement of the bass, hence the arbitrary version of EE2 certainly does not correspond to his intention. The last crotchet in bar 368 underwent the same transformation, which excludes a possibility of a mistake in both versions.

category imprint: Differences between sources

issues: Accompaniment changes , Authentic corrections of FE , Authentic corrections of GE

b. 366

composition: Op. 16, Rondo in E♭ major

..

We add two cautionary accidentals next to the 3rd quaver in the L.H.

category imprint: Editorial revisions

issues: Cautionary accidentals

b. 366-367

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

..

In FE, these bars are written very inaccurately in terms of the accidentals in the passage in the R.H. – they are missing before the 6th, 11th and 12th semiquavers in bar 366, while in bar 367, they are present only before the 1st and 2nd notes. In GE and EE, all necessary accidentals were added; however, those in the 2nd triplet in bar 367 were added only in EE and GE3.   

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions , Omission of current key accidentals