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Op. 10 No 2, Etude in A minor

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b. 20

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

e1-b1 in CLI & Ap

b1 & 2 in FEcor

b1 in FE (→GE,EE)
..

The version of CLI and Ap is certainly earlier. Chopin must have deleted e1 already in the base text for FE. The fact that it cannot be a mistake is proved by the fingering digit (2) written under b1 in FEcor (overlooked in finished FE and the remaining editions). Cf. bars 22 and 24. 

category imprint: Differences between sources

issues: Accompaniment changes , Authentic corrections of FE

b. 20-22

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

Quaver & crotchet in CLI

Two crotchets in Ap

Two quavers in FE (→GE,EE) 
..

In Ap the last chords in the R.H. in bars 20 and 22 are crotchets, which creates a kind of rhythmic and articulation accent. The similarity with the original rhythmic value of the chord in bar 22 is coincidental, as in the original version there are no differing values in the bar. In the version for publication Chopin significantly reduced the number of this kind of differences in the part of the L.H. (not to mention the lower voice of the R.H.).

category imprint: Differences between sources

issues: Accompaniment changes , Authentic corrections of FE

b. 20

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

d-a-c1 in CLI (interpretation)

c-a-b in Ap

d-a-b in FE (→GE,EE) 
..

In the sources there are three enharmonically different forms of this chord. Two of them are inaccurately written: in CLI there are no flats lowering d to d and a to a and in FE there is no  lowering d to d (which was corrected both in GE and EE). In the main text we give the notation adopted by Chopin in the version for publication. Cf. bar 22.

category imprint: Differences between sources; Corrections & alterations

issues: Accidentals in different octaves , Chopin's hesitations , Omission of current key accidentals , Accompaniment changes , Enharmonic corrections

b. 20-22

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

No marks in CLI & FE (→GE,EE) 

Long accents in Ap
..

In Ap long accents on the 4th beat of bars 20 and 22 seem to be significantly related to the rhythmic values – both in the L.H. and in the lower voice of the right one the autograph features crotchets.

category imprint: Differences between sources

issues: Long accents

b. 20-22

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

Semiquavers in CLI & FE (→GE,EE) 

Crotchets in Ap
..

The crotchets in the lower voice in the R.H. present in Ap at the end of bars 20 and 22 – in accordance with the scheme valid in these bars – are additionally underlined with accents. In the autograph the crotchets in these places are also included in the L.H.

category imprint: Differences between sources

issues: Chopin's hesitations , Accompaniment changes