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b. 24

composition: Op. 10 No 2, Etude in A minor

g1-d2 in CLI

d2 in ApFE (→GE,EE

..

The additional g1 in CLI is certainly the original version, Chopin rejected this note both in Ap and in the base text for FE. Cf. bars 20 and 22

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 24

composition: Op. 10 No 2, Etude in A minor

 in Ap

 in FE (→GE

 in EE

..

Chopin marked the last phase of crescendo both in FE, which we give in the main text, and in Ap. In the remaining sources it was the sign of FE that was reproduced, while in EE it was slightly shortened.

category imprint: Differences between sources

issues: EE inaccuracies , Authentic corrections of FE

b. 24-25

composition: Op. 10 No 2, Etude in A minor

Slur in Ap

Slur in FE (→GE,EE

..

The range of the slur in the R.H., written by Chopin in FEcor, is unclear – the sign seems to be too long to be a slur embracing only two octaves, as it was recreated in FE (→GE,EE). Due to this fact, in the main text we give the unequivocal slur of Ap.  

category imprint: Graphic ambiguousness; Differences between sources

issues: Authentic corrections of FE

b. 24

composition: Op. 10 No 2, Etude in A minor

..

We add cautionary naturals before the G-g octave. The addition was also performed in GE4 (→GE5).

category imprint: Differences between sources; Editorial revisions

b. 25-26

composition: Op. 10 No 2, Etude in A minor

No fingering in CLI & Ap

Double fingering in FEcor (interpretation)

Fingering in FE (→GE,EE

..

In FEcor, apart from the '1' digit over the last e2 in bar 25 and '2-5' for the g2-e3 sixth at the beginning of bar 26, Chopin also wrote two '4' digits. The digits were not included in FE (→GE,EE), which may have stemmed from a misunderstanding. According to us, Chopin wanted to indicate an alternative fingering in this way, which we suggest in this form in the main text.

category imprint: Differences between sources

issues: Errors in FE , Authentic corrections of FE