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b. 6-7

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

'1' written into FED

Fingering in AW in bars 56-57

No teaching fingering
..

Cf. General Editorial Principles, p. 17.

category imprint: Differences between sources; Editorial revisions

issues: Annotations in teaching copies , Annotations in FED

b. 6-8

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

Slurs in AT

Divided slur in AW

Continuous slur in CDP, GC (→GE), FE & EE
..

In the version prepared for print, Chopin abandoned in this fragment any attempts to suggest any phrase divisions, both structural (AT) and expressive (AW). The written in AW phrase breath effect in the 2nd half of bar 7 (and 26) was used – in the form underlined with articulation – only on the occasion of the last appearance of this fragment (bar 57). 

category imprint: Differences between sources; Corrections & alterations

b. 6-8

composition: Op. 25 No 4, Etude in A minor

No signs in A (→FE)

  in FC & EE

  in GE
..

In the main text we give a pair of   hairpins added most probably by Chopin in FC and base text to EE. The shift of the  sign in GE was probably a result of division of the score into great staves – bar 7 falls at the end of the line.

category imprint: Differences between sources

issues: Authentic corrections of FC

b. 6

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

..

FE overlooked the  pedal release mark written in A. It was added in GE and EE.

category imprint: Differences between sources

issues: Inaccuracies in FE , No pedal release mark

b. 6

composition: Op. 26 No 1, Polonaise in C♯ minor

 in A (→FE→GE1, first time)

 in FE (→GE1), first time & in GE2 (→GE3→GE4→GE5)

 in EE
..

The sources differ in the range of  hairpins. Taking into account various possibilities of interpretation of the not too carefully written signs in A (also in analogous bar 31) and a possibility of Chopin proofreading of FE (at the reappearance of this bar in the written repetition of bars 1-12), all three variants of the range of this sign can be considered to be potentially corresponding to Chopin's intention. In the main text we give the most possible interpretation of the hairpins of A.

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , Inaccuracies in A