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b. 5

composition: Op. 10 No 12, Etude in C minor

in A, contextual interpretation

No indication in FE (→GE,EE) 

Our variant suggestion
..

Not being certain whether the lack of sempre legato in FE (→GE,EE) is accidental, we give the indication in brackets. In bars 45-46 the analogous passage is embraced with slurs in all sources, which indirectly confirms the legato articulation also in this case. In spite of the fact that the indication in A begins only in the 2nd group of semiquavers, its binding force from the beginning of the passage is undeniable.

category imprint: Differences between sources

issues: Inaccuracies in FE , Centrally placed marks

b. 5-6

composition: Op. 10 No 11, Etude in E♭ major

..

In A there are visible traces of a change of the bottom note in the 3rd chord in bars 5-6 (as well as in bars 13-14, which are marked in an abbreviated form in A as a repetition of bars 5-6). Originally, all the places featured c2, hence Chopin proceeded from the strictly analogous version to bars 1-2. Cf. bars 37-38.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A

b. 5-13

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

No pedalling in A

Pedalling in FE

GE

EE
..

Chopin added the pedalling in bars 5 and 13 in a proofreading of FE. At the same time, the  mark in bar 13 was omitted, which is certainly a mistake (of Chopin or the engraver). The missed sign was added in GE, after bar 5, and in EE, in which, however, the  mark was placed in the middle of the bar. In the main text we add the sign after the most probably authentic pedalling in bar 5.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: EE revisions , Inaccuracies in FE , GE revisions , Authentic corrections of FE , No pedal release mark

b. 5-6

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

Wedge in A

3 dots in FE (→GE1→GE1a→GE2→GE3)

No marks in EE2

5 dots in EE3 (→EE4)

6 dots in GE4 (→GE5)
..

The only staccato sign in A is the wedge at the beginning of bar 6. The dots in bars 6 were added by Chopin in a proofreading of FE (→GE1→GE1a→GE2→GE3). Lacking dots in bar 5 are undoubtedly the result of Chopin's inadvertence. Versions in EE testify to an oversight and a later revision. Similar, but more careful revision in GE4 (→GE5) in our opinion represents accurately Chopin's intention.

category imprint: Differences between sources

issues: EE revisions , Errors in EE , Authentic corrections of FE

b. 5-13

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

Fingering in A

No fingering in FE (→GE,EE)

Our suggestion based on A & FES
..

The '1' digits at the end of bars 5 and 13 (and 45) are written in A. It is hard to determine why none of them is present in FE (→GE,EE). In any case, Chopin's entry in FES in bars 45-46 confirms both the fingering and the need for its indication. Therefore, in the main text we give the 1s written in A. (The fingering written in FES in bar 46 is also given by us in bar 6 – cf. General Editorial Principles, p. 17.)

category imprint: Differences between sources

issues: Inaccuracies in FE