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b. 3
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composition: Op. 25 No 8, Etude in D♭ major
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It is one of rare cases of Chopin's giving a clearly different fingering for the same fragment. In the main text we include them both – directly over the notes we give the fingering of FE, probably added by Chopin while proofreading (it does not include the 10th quaver of the bar); the fingering was then repeated in EE2 (→EE3). The top fingering, together with the numerals concerning the 9th and 10th sixth comes from A (→GE). In EE1 there is no fingering in this bar. category imprint: Differences between sources; Corrections & alterations issues: Differences in fingering , Authentic corrections of FE |
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b. 3
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composition: Op. 25 No 8, Etude in D♭ major
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GE1 has a g category imprint: Interpretations within context; Differences between sources issues: Errors in GE , Terzverschreibung error |
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b. 3
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composition: Op. 25 No 8, Etude in D♭ major
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There is no accidental before the bottom note of the 10th sixth, which makes it to be interpreted as g2. The flat added here in GE2 (→GE3) cannot come from Chopin, yet, one has to admit that a similar addition in many other places would be absolutely accurate – cf. the adjacent note. Possible doubts concerning the sound of this note is dissipated by the category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 3
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composition: Op. 25 No 8, Etude in D♭ major
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In A (→GE1), FE and EE there is no category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Errors in EE , Omissions to cancel alteration , Errors in GE , GE revisions , Errors of A |
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b. 3
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composition: Op. 25 No 8, Etude in D♭ major
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The authenticity of the version with c3 is undeniable – Chopin fingered it twice and heard it then during the lessons. However, it cannot be said of the version with c category imprint: Differences between sources issues: EE revisions |
as the bottom note on the 6th quaver. The comparison with the remaining sources, featuring e
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3 in 
, considering the failure to preserve the rule of parallel movement of the voices to be a sign of mistake. However, it does not mean that it was like that – it could have also been Chopin that introduced this variation.