Verbal indications
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b. 1
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composition: Op. 10 No 2, Etude in A minor
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In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and the dedication (in EE) most probably come from the editors. See the Etude in C major, No. 1, bar 1. category imprint: Differences between sources issues: EE revisions , Errors in FE , Dedications , GE revisions , Various titles |
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b. 1
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composition: Op. 10 No 2, Etude in A minor
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In the main text we give the tempo indications added by Chopin in subsequent proofs of FE (→GE1→GE2, →EE): Allegro already in FEcor, metronome tempo in the next one. In GE3 (→GE4→GE5) the metronome marking erroneously displays 114. category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Changes of metre , Errors in GE , Metronome tempos , Authentic corrections of FE |
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b. 1-5
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composition: Op. 10 No 2, Etude in A minor
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Chopin wrote the cresc. indications in bars 1 and 5 in FEcor, at the second time he also wrote the dashes determining the scope of the dynamic change (similarly in bar 9). The dashes were, however, not included in FE (→GE,EE). It is most probably an oversight, quite often in first editions of Chopin's works (cf., e.g., the Impromptu in A category imprint: Differences between sources |
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b. 1-8
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composition: Op. 10 No 2, Etude in A minor
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Both Ap and FE (→GE,EE) include quite a significant number of performance indications. In the case of the version prepared for print, preserved FEcor constitutes a source of valuable information enabling verification of authenticity, and at times also placement and form of particular signs. In this situation, in the remarks concerning performance indications, we do not discuss CLI, which is almost entirely devoid of them, and in the places where a lack of particular indications in CLI is the only difference between the sources, we do not mention it in the remarks at all. category imprint: Editorial revisions |
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b. 1-5
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composition: Op. 10 No 2, Etude in A minor
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In the main text we give sempre legato written by Chopin twice (in bars 1 and 5) in FEcor (→FE→GE,EE). In Ap Chopin was satisfied with legato in bar 1, which, however, seems to concern also the accompanying voice or even only the lower voice, as there are slurs over the upper line of semiquavers. category imprint: Differences between sources issues: Authentic corrections of FE |
in 
major, Op. 29, bars 21-22 or the Mazurka in B
