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b. 2-14

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

No pedalling in A

Pedalling in FE (→GE1→GE1a)

GE2 (→GE3→GE4→GE5) & EE

Our suggestion

Our alternative suggestion
..

The pedal markings added in a proofreading of FE in bars 2, 6 and analog. differ in the placement of the pedal release's mark, which in bars 2 and 14 (as well as in 50) is under the 3rd quaver of the bar, while in bar 6 – under the 2nd one. According to us, it cannot be excluded that Chopin had a different vision of pedalling in bars 1-2 and 9-10 (the first bar of the pair without pedal and in the second one, a half-bar long pedal) and a different one in bars 5-6 and 13-14 (all bars with a pedal to the 2nd quavers). We suggest this possibility, in which the  mark in bar 14 must be considered as misplaced, in the main text. As an alternative, we give a homogeneous pedalling in bars 2, 6 and analog., in which  always falls in the middle of the bar (it requires to assume that  in bar 6 was written by mistake).

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: EE revisions , Inaccuracies in FE , GE revisions , Authentic corrections of FE , No pedal release mark

b. 2-11

composition: Op. 10 No 6, Etude in E♭ minor

No a in A

a in FE (→GE)

a & fingering in EE
..

Chopin changed the version of the last semiquaver in bars 2 and 10 written in A while he was proofreading FE (→GE,EE). Traces of this proofreading are clearly visible in both bars. What is interesting is the fact that in bar 2 A had initially another version, in which a was probably involved, although without the tie sustaining it to the next bar.

In bar 2 the added note a was provided in EE with a fingering digit '3'. We include it in the main text instead of the identical direction at the beginning of the next bar.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Chopin's hesitations , Authentic corrections of FE

b. 2

composition: Op. 10 No 6, Etude in E♭ minor

No fingering in A (→FE→GE)

Fingering in EE
..

In EE Fontana employed a supplemented version of Chopin's fingering from bar 4.

category imprint: Differences between sources

issues: EE revisions

b. 2-10

composition: Op. 10 No 6, Etude in E♭ minor

..

In bars 2 and 10 we add cautionary flats before a. The addition was already performed in GE2 and later GE,s and in EE4.

category imprint: Differences between sources

b. 2-3

composition: Op. 10 No 6, Etude in E♭ minor

Slurs in A

No slurs in FE (→GE,EE)
..

The inaccurate and unclear slurs of A were ignored in FE (→GE,EE). Their range, particularly in the case of bar 3, is uncertain. We do not include them in the main text, as Chopin did not repeat them in A and in analogous bars 10-11 and 42-43, nor did he add them in a proofreading of FE (cf. bars 47-49). 

category imprint: Differences between sources

issues: Inaccuracies in FE , Inaccurate slurs in A