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Text Compare Notes Sources Description

Issues : Errors in FE

b. 7-12

composition: Op. 10 No 1, Etude in C major

Ties in CLI, GE & EE

No ties in FE
..

In FE there are no ties sustaining the upper notes of the octaves in bars 7-8, 9-10 and 11-12. According to us, the most probable explanation is a kind of misunderstanding at the time of changing the original brief notation of the octaves with the use of 8 under the upper notes for regular notation. 

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , GE revisions , Abbreviated octaves' notation

b. 7

composition: Op. 10 No 2, Etude in A minor

E-minor in CLI (interpretation) & Ap

E-minor in FE (→EE2→EE3)

E-major in GE1

E-major in GE2 (→GE3→GE4→GE5) & EE4
..

On the 2nd beat of the bar in the R.H. we give the E minor triad (with a  before g2) according to FE (→EE2→EE3) and Ap. The natural is, however, absent in FEcor and it was also not included in the copy which served as the base text for GE. In order to avoid the mode discrepancy between the parts of both hands, the reviser of GE1 took the decision to add a  raising g1 into g1 in the L.H. In GE2 and subsequent ones, an additional  was added before g2 in the R.H. These arbitrary changes were also introduced in EE4. 

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Omissions to cancel alteration , GE revisions , Authentic corrections of FE

b. 7

composition: Op. 10 No 2, Etude in A minor

 g2 in CLI, Ap, GE2 (→GE3) & EE4

No  in FE (→GE1, →EE2→EE3) & GE4 (→GE5)
..

The lack of  raising g2 into g2 on the 10th semiquaver is probably an error of FE (→GE1,→EE2→EE3). It is worth mentioning that when interpreted literally, FEcor has g2 here, as the  before the 2nd semiquaver of the bar is still valid (see the previous remark). Similarly, despite lack of the , g2 is featured in GE1 and GE4 (→GE5). The correctly written combination of the E minor triad on the 2nd beat of the bar and g2 in the described place appears only in Ap. 

category imprint: Differences between sources

issues: Errors in FE

b. 7

composition: Op. 10 No 7, Etude in C major

 in A

No hairpin in FE (→GE,EE)

Our variant suggestion
..

In FE (→GE,EE) it is hard to determine whether the lack of the short  mark written in A is a result of Chopin's proofreading or the engraver's oversight. In the main text we suggest a variant solution.

category imprint: Differences between sources

issues: Errors in FE

b. 7-8

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

No accidentals in FC (→GE1), FE & EE

Naturals in GE2 (→GE3)

Naturals suggested by the editors
..

In front of the 2nd semiquaver in each of these bars, there are no accidentals in the sources except for naturals added in GE2 (→GE3), which cannot come from Chopin. Therefore, it seems that the top note is supposed to be a2. However, there are strong grounds, both source (proved also in other pieces Chopin's doubts concerning the notation of a/a notes in the G minor key) and stylistic (natural harmonic passage), for considering it as Chopin's mistake. Therefore, in the main text we suggest to add naturals to achieve the sound of a2.

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

issues: Errors in FE , Errors in EE , Errors in GE , GE revisions , Last key signature sign , Errors of FC