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b. 12

composition: Op. 26 No 1, Polonaise in C♯ minor

..

The repetition of bars 1-12 is marked in A with a conventional repetition sign. In turn, in FE (→GE,EE), due to purely editorial reasons (division into pages), the bars are written a second time, which erroneously indicates to perform them twice also at the time of repeating this section da Capo.

category imprint: Differences between sources; Source & stylistic information

issues: Errors in FE , Errors in EE , Errors in GE

b. 12

composition: Op. 26 No 2, Polonaise in E♭ minor

A

FE

GE1

GE2 (→GE3→GE4)

EE

Our suggestion
..

Chopin added the staccato dot over e and stems extending the sound of g1 on the 2nd and 4th quavers in the L.H. in the proofreading of FE1 (→FE2). We consider this correction, repeated in bar 60, to be intentionally referring to the return of the main section of the Polonaise too (bars 116 and 164), as in A it was only signalised as repetition of the first section.
According to us, extending the top notes of the third only is either a simplified notation or a result of misunderstanding of Chopin's proofreading entry. Therefore, in the main text we assign the crotchet stems to both notes of the e1-g1 third. The versions of the remaining editions are either inaccurate (EE1) or arbitrarily changed (GE).

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 12

composition: Op. 25 No 1, Etude in A♭ major

No sign in AI, CDP & EE1 (→EE2)

 in A (→GE1), GE3 & EE3

  in GE1a (→GE2)

 in FE
..

The longer hairpins in A may have concerned the renounced by Chopin (deleted in A) version where he would raise the fifth of the chord only on the 4th beat of the bar. In the main text, we give the hairpins corrected by Chopin in GE1a (→GE2). The version of GE3 is a result of a revision returning the state before the proofreading of GE1a; the version was introduced also in EE3.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , GE revisions , Authentic corrections of GE

b. 12-13

composition: Op. 25 No 2, Etude in F minor

No signs in AT & AW

One sign  in CDP

Two signs  in GC (→GE), FE & EE
..

It is unclear whether according to Chopin diminuendo in these bars was supposed to be divided in two sections or not. In GC and CDP, bar 13 opens a new line of the text, hence it was most probably the same in [A]. In such a situation, two subsequent  or  signs were treated as equal to one, longer hairpins in Chopin's times. As two out of three sources based probably on [A] (GC and EE or FE) have divided signs and only one (CDP) – combined, in the main text we adopt the first notation.
However, most probably these bars, independently from the notation, are supposed to be embraced with one diminuendo wave, as it was unambiguously indicated in analogous bars 31-32.

category imprint: Differences between sources

issues: Inaccuracies in GE , Scope of dynamic hairpins , Hairpins denoting continuation

b. 12

composition: Op. 25 No 2, Etude in F minor

No pedalling in AT, AW, #CG (→GE) & EE

Pedalling in FE
..

There is no reason to doubt the authenticity of the pedalling added in this bar probably in proofreading of FE. However, the omission of the respective indication in the remaining sources and no pedalling, in all sources, in analogous bar 31 make us suggest a variant solution.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE