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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 78

composition: Op. 25 No 10, Etude in B minor

No mark in GC (→GE) & EE

Accent in FE

..

The accent was most probably added by Chopin at the time of proofreading FE.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 79

composition: Op. 25 No 10, Etude in B minor

 in GC (→GE1) & EE

No sign in FE

 in GE2 (→GE3)

..

According to us, regardless of how the difference occurred (in the sources there are no clear traces of possible corrections in this regard), omission of the  hairpins in FE was a conscious and final decision of Chopin. In Chopin notation, this kind of sign emphasises the note or group of notes, which in this case would suggest beginning the phrase of the middle voice together with the return of the main thematic link in this part, contrary to the later, consistent markings of FE.
Extension of the sign in GE2 (→GE3) is a typical for this editor routine revision.

category imprint: Differences between sources

issues: GE revisions

b. 87

composition: Op. 25 No 10, Etude in B minor

No mark in sources

[] suggested by the editors

..

In the main text we suggest adding an accent after the previous analogous bars, in which Chopin included it in all (bar 47) or certain sources (GC in bar 67).

category imprint: Editorial revisions

b. 107-108

composition: Op. 25 No 10, Etude in B minor

5 long accents in GC, FE & EE

6 long accents in GE1

6 short accents in GE2 #→GE3)

..

Same as in bars 5-6, stating which kind of accents Chopin had on his mind poses a difficult challenge. In GC, FE and EE the last accent in bar 108 is clearly shorter than the previous (and next) and this is the version we give in the main text. The harmonised notation of GE1 and GE2 (→GE3) may be, however, considered as justified alternative versions of these signs.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , GE revisions