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b. 2-3

composition: Op. 25 No 2, Etude in F minor

Fingering in FED

Fingering in FED

Our suggestion

No teaching fingering
..

The fingering digits pairs written in FED and FES complement each other.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Annotations in FES

b. 2-4

composition: Op. 25 No 4, Etude in A minor

No signs in A (→FE)

  in FC (→GE1)

  in EE

  in GE2 (→GE3)
..

The pair of   hairpins must have been added by Chopin in FC and base text to EE. Nothing indicates that Chopin could have wanted to resign from these indications – their absence in A (→FE) is almost certainly a result of haste and insufficient attention at the time of parallelly introducing corrections and additions in three Stichvorlage manuscripts. Similarly in bars 6-8.
Shortening the  sign in GE2 (→GE3) is most probably an editorial revision or a mistake of the engraver. 

category imprint: Differences between sources

issues: Scope of dynamic hairpins , GE revisions , Authentic corrections of FC

b. 2-3

composition: Op. 25 No 6, Etude in G♯ minor

..

In FC the part of the R.H. is written in these bars in an abbreviated manner – with the help of •/• signs – as repetition of bar 1.

category imprint: Differences between sources

issues: Abbreviated notation of A

b. 2-6

composition: Op. 25 No 8, Etude in D♭ major

..

We add cautionary flats before the 2nd sixth in bars 2 and 6.

category imprint: Editorial revisions

b. 2-4

composition: Op. 25 No 5, Etude in E minor

..

The subsequent GE added cautionary naturals in these bars – already in GE1 before the second g2 in bar 3, in GE2 before d in bar 4, in GE3 before a1 in bar 2. The sign in bar 3 was added in EE3 too. According to us, all signs are justified and we adopt them to the main text. 

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions