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b. 25
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composition: Op. 10 No 11, Etude in E♭ major
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The arrangement of dolce in A suggests that it concerns the 2nd and subsequent quavers in the bar. However, in FE it was put already over the 1st quaver, which, according to us, is a result of a misunderstanding of Chopin's intention by the engraver. What is interesting is the fact that both in GE and in EE the hint was arranged after A and not FE. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , GE revisions |
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b. 25-31
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composition: Op. 10 No 11, Etude in E♭ major
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All slurs of A clearly reach the 1st quavers in these bars marked staccato (apart from bars 27-28, discussed separately). It is unclear why they were shortened in the editions, yet nothing indicates that it could be a result of Chopin's intervention. category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 25
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composition: Op. 10 No 11, Etude in E♭ major
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In FE (→GE1) the category imprint: Differences between sources issues: EE revisions , Errors in FE , GE revisions |
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b. 26-28
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composition: Op. 10 No 11, Etude in E♭ major
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The cautionary flats before e category imprint: Differences between sources issues: Cautionary accidentals , Authentic corrections of FE |
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b. 26-32
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composition: Op. 10 No 11, Etude in E♭ major
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From the 2nd quaver in bar 26 in the R.H. and from the 3rd quaver in bar 27 in the L.H. there are no arpeggio marks in A until the end of bar 32. It is undoubtedly a result of Chopin's distraction. The wavy lines were added in a proofing of FE (→GE,EE), yet in FE the 1st chord in bar 29 was omitted. category imprint: Differences between sources issues: EE revisions , GE revisions , Errors of A , Authentic corrections of FE |
in 
2 at the beginning of bars 26 and 28 were added in a proofreading of 
