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b. 2-6

composition: Op. 10 No 2, Etude in A minor

No naturals in CLI, Ap & FEcor

Naturals in FE (→GE,EE) 

Our suggestion
..

In bars 2 and 6 in one of the last proofreadings of FE (→GE,EE) cautionary naturals before c2 in the chord at the end of the bar were added. According to us, accidentals in those places are actually unjustified, yet due to their probable authenticity, we suggest to consider the first of them.

category imprint: Differences between sources; Editorial revisions

issues: Cautionary accidentals , Authentic corrections of FE

b. 2-6

composition: Op. 10 No 2, Etude in A minor

No  in CLI

Naturals in Ap & FE (→GE,EE) 
..

Lack of the  returning b2 on the penultimate semiquaver in bars 2 and 6 is most probably an inaccuracy of the notation of CLI. In bar 2 Chopin added the sign in FEcor, in bar 6 – probably already in the handwritten base text for FE.

category imprint: Differences between sources

issues: Omissions to cancel alteration , Authentic corrections of FE

b. 2-4

composition: Op. 10 No 12, Etude in C minor

Possible short accents in A

Possible long accents in A

Short accents in FE (→GE,EE) 

Possible long accents in FE (→GE,EE) 
..

Lack of the accent in the middle of bar 4 is probably an inaccuracy of the notation of A – it seems highly unlikely that this bar was supposed to be less accentuated than bar 2. In the main text we suggest all accents added probably in a proofreading of FE (→GE,EE). The added accents do not differ from the adjacent ones, therefore, we accept both possibilities of their interpretation – cf. bars 1-6.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Authentic corrections of FE

b. 2-4

composition: Op. 10 No 12, Etude in C minor

Indications in A, literal reading

Indications in A, interpretation

FE (→GE,EE) 
..

The performance markings of A quite significantly differ from the ones included in FE (→GE,EE). Due to the fact that next to the omission of verbal indications in A the accents in the R.H. in bars 2 and 4 were added, we consider the printed version as proofread by Chopin and we adopt it in the main text. The  mark in bar 4 is, according to us, written in compliance with a sometimes applied by Chopin convention, according to which the indications are not arranged at the beginning of the area they consider, e.g., a motif, yet closer to its middle.

category imprint: Differences between sources

issues: Centrally placed marks

b. 2-4

composition: Op. 10 No 12, Etude in C minor

No marks in A

 signs in FE

Accent &  in GE & EE

Accents suggested by the editors.
..

The  marks, added by Chopin probably in a proofreading of FE (→GE,EE), are certainly meant to be long accents and this is how we give them in the main text. In bar 2 the length of marks in GE and EE corresponds quite well with the size of Chopin's long accents, although most probably by accident.

category imprint: Differences between sources

issues: Long accents , Authentic corrections of FE