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b. 3-11

composition: Op. 10 No 5, Etude in G♭ major

Fingering in A

FE (→GE)

EE

FED
..

In the main text in bar 3 we give the fingering from A without brackets. It was also reproduced in FE (→GE), however, omitting, probably inadvertently, the last digit. This reduced fingering version is also in EE, in which it was additionally repeated in analogous bar 11. Moreover, that edition adds digits in the further part of bar 3. In the main text, apart from the digits drawn from A, we consider a different fingering written by Chopin in bars 3-4 in FED.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FED , Differences in fingering

b. 3

composition: Op. 10 No 6, Etude in E♭ minor

No fingering in A

Fingering in FE (→GE,EE)
..

While proofreading FE, Chopin added the fingering of the L.H. in bars 3-4, particularly '3' over the first sustained a in bar 3. As, according to the benchmark fingering given in bar 1, the last semiquaver in bar 2 should be played with the 4th finger, such a notation could suggest a swap of the finger on this note. According to us, there is, however, a more plausible explanation for this notation – Chopin added the fingering in bar 3 before he decided to change the ending of bar 2, i.e. the 3rd finger at the beginning of bar 3 was added in the moment when the note was being struck and not held. Therefore, in the main text we propose to move the digit to bar 2, which was included in the neighbouring note.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Errors resulting from corrections , Authentic corrections of FE

b. 3

composition: Op. 10 No 6, Etude in E♭ minor

No fingering in A

Fingering in FE (→GE,EE)

Fingering written into FES, interpretation

Our variant suggestion
..

The fingering in the L.H. was added by Chopin during a proofreading of FE (→GE,EE). Chopin suggests here a different, slightly more demanding finger arrangement than at the beginning of the piece.
Probably it turned out to be too difficult for Jane Stirling, as in her pupil's copy (FES) digits suggesting use of a more convenient fingering were added. According to us, the entry, despite including only two digits, changes the fingering in the entire bar (perhaps this is what the sharp over the fingering reminds of?), which we also suggests in the main text in the variant form.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , Annotations in FES , Authentic corrections of FE

b. 3

composition: Op. 10 No 6, Etude in E♭ minor

 in A (→FE→GE,EE)

Our suggestion
..

The sign at the beginning of bar 3 in A (→FE→GE,EE) may be considered as  hairpins, especially due to the fact that it is between the staves. However, a comparison with analogous bars 11 and 43 shows that we are probably dealing with an unfortunately placed long accent mark and this is the interpretation we suggest in the main text.  

category imprint: Interpretations within context; Differences between sources

issues: Long accents

b. 3-4

composition: Op. 10 No 6, Etude in E♭ minor

..

Bar 3 in A (→FE→GE1→GE2→GE3) repeats the  from the 1st half of the bar before g in the 2nd half of it. The  before f in the 2nd half of bar 4 is similarly repeated. The unnecessary signs were removed in GE4 (→GE5). In analogous bars 11-12 and 43-44 the signs do not appear in any of the sources.  

category imprint: Differences between sources

issues: Cautionary accidentals