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b. 1-4
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composition: Op. 10 No 8, Etude in F major
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The pedalling of these bars was added by Chopin during a proofreading of FE (→GE,EE). The editors have doubts whether the moment of the pedal's release in bar 4 was correctly marked (due to harmonic reasons). Therefore, we suggest to release the pedal slightly earlier. Most probably, the reviser of GE3 (→GE4) thought alike, moving the category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: GE revisions , Authentic corrections of FE |
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b. 1
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composition: Op. 10 No 8, Etude in F major
category imprint: Differences between sources issues: No initial dynamic marking , Authentic corrections of FE |
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b. 1-8
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composition: Op. 42, Waltz in A♭ major
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GE2 (→GE3) arbitrarily added ties to the e category imprint: Differences between sources issues: GE revisions |
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b. 1
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composition: Op. 42, Waltz in A♭ major
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In FED Chopin added the fingering for the trill. category imprint: Differences between sources |
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b. 1
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composition: Op. 42, Waltz in A♭ major
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In the main text we give the title in the wording adopted in the headings of FE and GE. There are no doubts that such additions to the title as "grande" in FE and EE or "nouvelle" on the title page of FE were introduced for marketing purposes and on the initiative of the editors (sometimes perhaps also upon Chopin's consent). The Waltz published in Pacini's publishing house (FE) appeared as a part of a bigger album, "Cent-Et-Un" and was given a subsequent number – 68. As a result of this, the numbering of pages is continued: it starts with page 408 and ends with page 415. The title of Pacini's album was also used by the English editor, Wessel, undoubtedly for the purpose of advertising and trading, adding to the Waltz in EE the indication "Cent-et-Un." category imprint: Differences between sources issues: EE revisions , Various titles , FE revisions |
mark at the end of bar 3.
1 minims. This kind of spelling conveys more distinctly the idea of a continuous 8-bar long trill four-bar long trill Chopin certainly had in mind. However, in the main text we retain the unequivocal notation of the sources. Both notations mean the same, as indicated by the different authentic spellings of the 
