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b. 8

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

No pedalling in A

Pedalling in FE (→GE,EE)
..

Chopin added the pedalling while proofreading FE (→GE,EE).

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 8

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

Grace note without slash in A (→FE)

Slashed grace note in GE & EE
..

The non-slashed grace note in A (→FE) was considered in GE and EE as the notation's inaccuracy. In Chopin's notation, non-slashed grace notes are often treated interchangeably with slashed ones. However, the erasures visible in this place in A suggest that Chopin corrected the rhythmic notation here and he may have thought about a classical long grace note.

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 8

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

..

In A there is no  returning d1 on the penultimate semiquaver in the R.H. The natural next to the subsequent note proves that Chopin forgot about the existence of d1 at the beginning of the bar. The sign was added in a proofreading of FE (→GE,EE).

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , Errors of A , Authentic corrections of FE

b. 8

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

cresc. in A

FE (→GE,EE)
..

In the main text we put cresc. over the part of the R.H., in accordance with A. In the editions it was placed between the staves, which in this case makes no big difference, as the part of the L.H. is also to be performed crescendo. 

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in FE

b. 8

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

 in A

Two signs in FE (→EE)

 in GE
..

The additional  sign, placed in FE (→EE) between the staves, seems to be added during a proofreading, thus correct. The hairpins could refer to the R.H., which would cause problems (crescendo on a long note), or to the left one, where they would double the sign placed under the semiquavers. Due to this fact, we think that the most likely explanation is the following: the sign put in A under the semiquavers in the L.H. was erroneously reproduced in FE over them. In the last proofreading of FE (not included in GE) Chopin added the second  under the L.H., confirming his intention of providing the progression of semiquavers with this sign. Therefore, in the main text we give only the hairpins of A. 

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in FE , Authentic corrections of FE