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b. 8

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

'2 1' written into FED

'4 3' written into FES

Our suggestion

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Annotations in FES

b. 8

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

a2 in AT, AW, CDP, GC (→GE), FE & EE2 (→EE3)

b2 in EE1
..

The version of EE1 is almost certainly erroneous.

category imprint: Differences between sources

issues: EE revisions , Errors in EE

b. 8

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

a1 in AT

f1 in AW, CDP, GC (→GE), FE & EE
..

The broader position of the L.H. written in AT was changed later by Chopin.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 8

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

 in A (→FE)

No sign in FC (→GE) & EE

Our variant suggestion
..

It is unclear why the  sign visible in A (→FE) was neither in FC (→GE) nor in EE. It could have been Fontana's oversight in FC and a similar inaccuracy in the base text to EE or in the very edition. It is also possible that Chopin added this sign in A already after having prepared the copy. According to us, crescendo, although not necessarily, is not contrary to the previous dynamic nuances, hence in the main text we leave its inclusion at the discretion of the performer.

category imprint: Differences between sources

b. 8

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

No markings in A (→FE,FC→GE)

Pedalling in EE

Our variant suggestion
..

The pedalling in EE can be authentic. However, one cannot totally exclude an editorial revision, which could have introduced here an indication drawn from analogous bar 46.

category imprint: Differences between sources

issues: EE revisions