



As far as the naturals raising e to e in the 2nd half of bar 255 are concerned, in A Chopin was satisfied with accidentals to the L.H. chord (e1) and the 3rd demisemiquaver (e3). The remaining 3 naturals necessary later in the passage were added by GE (→FE,EE).
In EE the to the L.H. chord, which was placed slightly too low in GE1, was interpreted as a natural raising d
1 to d1.
In A the to e3 is written too low, at the pitch of c3. Such inaccuracies are often to be found in Chopin's autographs, generally – as is the case here – with no influence on the interpretation of the text.
Compare the passage in the sources »
category imprint: Interpretations within context; Differences between sources; Source & stylistic information
issues: Accidentals in different octaves, Inaccuracies in GE, Errors in EE, GE revisions, Accidental below/above the note, Inaccuracies in A
notation: Pitch