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b. 5

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

No sign in AI, CDP & EE

 in A (→GE) & FE

..

Lack of the sign in EE may indicate distraction of the engraver, copyist (if it was a copy of A that was the base text to EE) or of Chopin himself, if it was another autograph that constituted the base text or if the dynamic signs were added by Chopin already after the copy had been prepared. Moreover, in EE there are no dynamic signs in bars 4-7.
Also in AI, the second four-bar section of the Etude is practically devoid of dynamic signs – the accent in bar 6 is the only indication of this type.

category imprint: Differences between sources; Corrections & alterations

b. 5

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

..

In EE1 the lowest note of the last beat in the R.H. is the erroneous a1.

category imprint: Differences between sources

issues: Errors in EE

b. 5-6

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

Fingering in AW in bars 55-56

No teaching fingering

..

Cf. General Editorial Principlesp. 17.

category imprint: Editorial revisions

b. 5

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

No markings in AT, AW & CDP

Pedalling in GC (→GE) & EE

Pedalling in FE

..

There is no pedalling in the previous sources. While preparing the Etude for print, Chopin most probably would add indications in three Stichvorlage manuscripts, which is directly proven by GC (the signs are written with Chopin's hand), and indirectly also by CDP, probably reflecting the state of [A] before the last retouch and additions. Hence, the earlier pedal release in FE cannot be considered a mistake, as analogous bars 24 and 55 are marked in the same way. In the main text, we give the possibly later notation of GC (→GE) and EE – cf. bar 24.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections in GC

b. 5-6

composition: Op. 25 No 3, Etude in F major

No markings in GC (→GE) & FE

Pedalling in EE

Our variant suggestion

..

According to us, the absence of pedalling indications in bars 5-6 in GC (→GE) and FE does not mean that the bars are to be performed without pedal. The deletions of the pedalling signs, visible in GC in bar 5 (as well as in bars 33, 35-36 and 47-48) prove Chopin's striving for simplicity rather than the will to differentiate the performance, e.g., bars 1-2 (with pedal) and 5-6 (without pedal). Therefore, we consider the indications of EE in the discussed bars to be valid, yet due to their absence in the remaining sources, in the main text we give them in brackets. 

category imprint: Differences between sources