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b. 1-2

composition: Op. 10 No 4, Etude in C♯ minor

..

In AI the slur does not embrace two entire bars, yet its shape and melodic context suggest that Chopin most probably had in mind such slur like in FE (→GE,EE).

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A

b. 1

composition: Op. 10 No 4, Etude in C♯ minor

No indication in AI

in FE (→GE,EE)

..

The crescendo indicated in this place most probably leads to  in bar 4, also added only at the time of preparing the Etude for publication – most probably in [A]

category imprint: Differences between sources; Corrections & alterations

b. 1

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

No indications in A

in FE (→GE,EE)

..

Both the verbal tempo indication and the metronome marking were added—undoubtedly by Chopin—during his proofreading of FE (→GE,EE).

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 1-6

composition: Op. 10 No 8, Etude in F major

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in FE

b. 1

composition: Op. 25 No 1, Etude in A♭ major

No anacrusis in AI

Anacrusis in A (→CDP,GE), FE & EE

..

Lack of upbeat in AI is characteristic for the original versions – cf., e.g., the autograph of the first edition of the Mazurka in A major, Op. 7 No. 4 or the album autograph of the initial theme of the Nocturne in F minor, Op. 55 No. 1. 

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes , Changed phrase length