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b. 365-366

composition: Op. 2, Variations, complete

  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. 365-366

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

 in A

No markings in GE (→FE,EE,IE)

   [] suggested by the editors

  [  ], our alternative suggestion
..

category imprint: Editorial revisions

issues: No pedal release mark , Inaccuracies in A

b. 365

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

..

At the beginning of the bar Chopin wrote in A (→GE→FE,EE,IE) a cautionary  to a. In the main text we also include the cautionary  to f2 added in GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Cautionary accidentals

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