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b. 3

composition: Op. 25 No 1, Etude in A♭ major

Fingering in FED

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 3

composition: Op. 26 No 2, Polonaise in E♭ minor

in A

No marking in FE (→GE,EE)
..

It is not certain if  written in A was deliberately omitted in FE (→GE,EE). Given an identical indication appearing two bars earlier, Chopin's correction seems probable. Similarily in bar 107, see also bar 155.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 3

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

Fingering in FED

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 3-4

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

'4' written into FES

Our suggestion

No teaching fingering
..

In the main text we list the complementary fingering versions written in different sources in this bar and its subsequent repetitions:

  • '1' written into AW in bar 53,
  • '4' written into FES,
  • '3' written into FES in bar 54

(cf. General Editorial Principles, p. 17).

category imprint: Differences between sources; Editorial revisions

issues: Annotations in teaching copies , Annotations in FES

b. 3-4

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

  in AT

No signs in AW

  in CDP

  in GC (→GE), FE & EE
..

In practice, the differences in the range of the dynamic hairpins, in spite of being quite significant, are of minimal influence on the interpretation of these signs. Lack of hairpins in AW may be a proof of Chopin's inadvertence rather than hesitation.

category imprint: Differences between sources

issues: Chopin's hesitations