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Op. 27 No 2, Nocturne in D♭ major

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b. 60-61

composition: Op. 27 No 2, Nocturne in D♭ major

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The traces of erasing visible in A still allow us to decipher that initially the 4 bass notes in those bars had been A flat-A flat-A flat-A flat1. Eventually Chopin changed them in A to A flat1-A flat-A flat1-A flat. Cf. similar alterations of the same notes in the Polonaise in C sharp minor Op. 26 no. 1, bars 45 and 52-53. Cf. later overlapping changes in teaching copies.

category imprint: Corrections & alterations

issues: Corrections in A , Accompaniment changes

b. 61

composition: Op. 27 No 2, Nocturne in D♭ major

Long accents in A

Short accents in GE (→FE→EE)
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In GE (→FE→EE), both accents over the crotchets in the right hand were interpreted as short ones, despite their considerable size in A (cf. short accents in bars 62-64).

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 61

composition: Op. 27 No 2, Nocturne in D♭ major

Without an accent in A (→GE)

An accent appearing in FE (→EE)
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Chopin added the accent under A flat1 when proofing FE (→EE). Cf. bars 39-40. 

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 61

composition: Op. 27 No 2, Nocturne in D♭ major

No accent in A (→GE→FE→EE)

The accent for  f1  added in  FED

The editors' variant suggestion
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category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 61

composition: Op. 27 No 2, Nocturne in D♭ major

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In GE, the four last notes of the R.H.: e flat1-f1-e flat1-d flat1, are placed - against their rhythmic values - precisely above the four last semiquavers of the L.H. (e flat-c1-g flat-A flat). FE and EE have those notes placed correctly. 

category imprint: Source & stylistic information

issues: Inaccuracies in GE