Op. 10 No 1, Etude in C major

First German edition, in which the entire Op. 10 was divided into two books, 6 etudes each. GE1 was based on [FE0''], a review copy of FE, not including Chopin's last corrections. It is indicated by the following errors and inaccuracies repeated after [FE0''] and absent in finished FE1: lack of the  before f in bar 7 and the erroneous 14th note (g) in bar 38. In addition, the abbreviated notation of the octaves in bars 7-8 is probably adopted from [FE0''].

A lot of additions were introduced to GE1 at the time of printing, above all, accidentals, as well as changes; their traces are perfectly visible. Until now, some of the changes (e.g. in the Etude in E major, No. 3, bar 34, E minor, No. 6, bar 7, F major, No. 8, bar 95 or E major, No. 11, bars 52-53) have been generally considered to be authentic, so they appear in a large majority of subsequent collective editions. After all, there are serious arguments against Chopin's participation in the proofreading of GE1, which makes the authenticity of the version of this edition to be very uncertain:

• it stems from the letters exchanged between the editors, Schlesinger in Paris and Kistner in Leipzig, that Chopin was in direct contact only with the Parisian editor and only then did the latter offer the purchased pieces to his Leipzig friend; introducing improvements in GE1 while omitting the main Parisian contractor would be an awkward move for a composer who begins publishing his pieces in France;
• apart from the changes which could be ascribed to Chopin, GE1 includes a number of other, clearly erroneous, ones, which, in any case, cannot be attributed to Chopin (eg. adding a  raising d to d in bar 46; moreover in the Etude in A minor, No. 2, bar 7, F major, No. 8, bars 43 and 51, A major, No. 10, bars 23 and 35).

However, a kind of Chopin's influence on the final shape of GE1 cannot be excluded, therefore, the question of authenticity of some of the versions cannot be considered to be conclusively decided. In this Etude one could assume the corrections of the errors in bars 22, 44 and 76 to be authentic, as well as the addition of pedalling in bar 60.

Other changes of GE1 in relation to FE1 include, among others:

• replacing the abbreviated notation of the lower octaves in the L.H. with a common notation, e.g. in bars 51-63,
• additions of accidentals, e.g. a  before b¹ in bar 33 and a  before c¹ in bar 36,
• corrections of inaccurate pedal marks, e.g. in bars 40, 43-44 and 46. A  mark was also added in bar 79, most probably supposing an incomplete notation of FE.

In GE1 the erroneous initial of Liszt's name (J) was repeated after FE1. The pencil entries visible in the copy do not have any source value.