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b. 12

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

..

There is no fingering in AI.

category imprint: Differences between sources

b. 12

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

 in AI, literal reading

 in AI, contextual interpretation

 in FE (→GE,EE2)

, possible interpretation of FE (→GE,EE2)

 in FE (→GE,EE2), probable interpretation

 &  in EE3 (→EE4)
..

The  mark in AI is clearly valid from the beginning of the bar. In turn,  in FE (→GE,EE2), apart from the literal reading, can be interpreted in several ways, e.g., as  valid in this place or – which is more plausible – as  valid from the beginning of the bar. In the main text we propose the latter, being the resultant of both source notations (Cf. also analogous bar 62).
In EE3 (→EE4) an arbitrary  was added to  adopted from FE (near the end of the bar), probably on the basis of comparison with bar 62.  

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , Centrally placed marks

b. 12

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

No slur in AI

Slur in FE (→GE,EE)
..

In AI there is no slur in this bar.

category imprint: Differences between sources

b. 12

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

f-c1-f1 in AI

f-a-c1-f1 in FE (→GE,EE)
..

The absence of a in the chord in the L.H. on the 1st quaver is the original version, proved by AI. Similarly in analogous bar 62.

category imprint: Differences between sources; Corrections & alterations

b. 12

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

No marks in AI

Dots in FE (→GE,EE)
..

Lack of the staccato dots in AI is probably a reflection of a less accurate notation in this working manuscript. Nothing points to the fact that Chopin could have imagined performance of this octave passage in another articulation.

category imprint: Differences between sources