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b. 1

composition: Op. 25 No 12, Etude in C minor

No fingering in FC (→GE), FE & EE1

Fingering in EE2 (→EE3)
..

The fingering added in EE2 (→EE3) is non-authentic, although undoubtedly correct. Cf. bar 27.

category imprint: Differences between sources

issues: EE revisions

b. 1

composition: Op. 25 No 5, Etude in E minor

..

In the indication of the metronome tempo GE1 includes an erroneous number 148 (the value is absent on a traditional metronome). The mistake was corrected in GE2 (→GE3).

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 1

composition: Op. 25 No 5, Etude in E minor

Title & dedication in FC

Title & dedication in GE1

Title & dedication in GE2 (→GE3)

Title & dedication in FE

Title & dedication in EE1 & EE3

Title in EE2
 
..

In the main text we give the title and dedication in accordance with the title page of the entire opus in FC and FE.
See the Etude in A major, No. 1.

category imprint: Differences between sources

issues: EE revisions , Dedications , GE revisions

b. 1-2

composition: Op. 25 No 5, Etude in E minor

No fingering in FC (→GE), FE & EE1

Fingering in EE2 (→EE3)
..

EE2 (→EE3) added fingering for three figures in the R.H. In spite of a clear accuracy, nothing indicates its provenience from Chopin.

category imprint: Differences between sources

issues: EE revisions

b. 1

composition: Op. 35, Sonata in B♭ minor, Mvt I

in GC (→GE) & EE2

in FE (→EE1)
..

The  time signature in FE (→EE1) is almost certainly a result of inattention or manner of the engravers of FE, who in numerous pieces by Chopin seemed not to differentiate between  and  – see the Etudes, Op. 10 or the Impromptu in A major, Op. 29. Therefore, in the main text we give , written in GC (→GE), whose correctness and authenticity do not raise any doubts. This time signature – probably under the influence of GE – was introduced also in EE2.    

category imprint: Differences between sources

issues: EE revisions , Errors in FE , 4/4 or 2/2