|
b. 8
|
composition: Op. 25 No 4, Etude in A minor
..
In EE there is no category imprint: Interpretations within context; Differences between sources issues: Errors in EE , Cautionary accidentals |
|||||||||||||
|
b. 8-24
|
composition: Op. 64 No 3, Waltz in A♭ major
..
In the main text we omit the cautionary category imprint: Editorial revisions |
|||||||||||||
|
b. 8
|
composition: Op. 25 No 6, Etude in G♯ minor
..
Same as in bar 4, FE, EE1 and GE1 misinterpreted here the abbreviated notation of FC and of the remaining Stichvorlage manuscripts, giving the 2nd, 3rd and 4th group of semiquavers without any accidentals. The mistake was corrected in EE2 (→EE3) and GE2 (→GE3). category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Errors in EE , Omissions to cancel alteration , Errors in GE , GE revisions , Inaccuracies in FC |
|||||||||||||
|
b. 8-10
|
composition: Op. 25 No 6, Etude in G♯ minor
..
The fingering of FE, undoubtedly coming from Chopin, is almost certainly an addition introduced in the proofreading of this edition. The fingering was repeated in EE2 (→EE3), adding a '1' at the end of bar 8 (evident mistake). category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
|||||||||||||
|
b. 8
|
composition: Op. 25 No 7, Etude in C♯ minor
..
In fact, the numerals written into FED and FES can be treated jointly, yet, most probably, they indicate different fingering of the first five semiquavers: category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Differences in fingering , Annotations in FES |
returning f2 (despite the presence of – as in the remaining sources – cautionary 
next to d
2 in bar 8, present in the sources. Chopin probably feared that b1 at the beginning of the bar may trigger an association with d2. Similarly in bar 24, which in 
