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b. 7-8

composition: Op. 25 No 8, Etude in D♭ major

..

In A (→GE1) and FE the only cautionary sign in these bars is the  next to d1 in the L.H. in bar 8 (in EE there is also a  before c3 in bar 7). The flat was omitted – not without a reason – in GE2 (→GE3), whereas a few others were added: before e2 and d2-b2 in bar 7 and g2-e3 and d3 in bar 8. In the main text we consider the first and last from the aforementioned signs, while still adding a  before g1 in bar 7 (due to the similarity of combination of bars 6-7 with bars 2-3).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Cautionary accidentals

b. 7-8

composition: Op. 25 No 8, Etude in D♭ major

  in A

  in FE

  in GE

  in EE
..

The sources generally do not differ in the moment of starting the  sign (in GE it was moved to the beginning of the triplet, adjusting it – according to its manner – to the rhythmic division), whereas the fact of ending the hairpins earlier in FE may influence the interpretation. In the main text we give the signs based on A (and very similar in this respect EE), yet the most probably authentic indications of FE seem to be equally justified. 

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 7-8

composition: Op. 25 No 8, Etude in D♭ major

One slur in A (→GE) & EE

Two slurs in FE
..

The divided slur is most probably a result of a misunderstanding of the notation of A by the copyist or of an inaccurate reproduction of the manuscript in FE. Cf. bars 3-4.

category imprint: Differences between sources

b. 7

composition: Op. 25 No 9, Etude in G♭ major

Fingering written into FES

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 7

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

..

GE4 (→GE5) arbitrarily added cautionary  for e in the L.H. (only the first time) and e2 in the R.H. (in both situations).

category imprint: Differences between sources

issues: GE revisions