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b. 1-15
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composition: Op. 10 No 5, Etude in G♭ major
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The staccato dots in bars 1-3, 9-11 and 13-15, added in a proofreading of FE (→GE,EE), are an element of Chopin's comprehensive elaboration of the performance markings of the first section of the Etude. In A there are only four wedges at the beginning of bar 2 and analog. See also the remark concerning bars 5-6. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 1-10
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composition: Op. 10 No 5, Etude in G♭ major
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In the main text for bars 1-2 and analog. we give the fingering written by Chopin in A (bars 1-2 and 5), as the lack of the 2nd digit in bar 2 in FE (→GE) must be the engraver's oversight. In EE Fontana completed Chopin's indications, adding digits next to each note in bars 1-2 and 9-10. According to us, the use of the 5th finger on the 8th semiquaver in bar 1 by Chopin suggests the 2nd finger for the next one and not the 1st one, as written by Fontana. category imprint: Differences between sources issues: EE revisions , Errors in FE |
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b. 1
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composition: Op. 10 No 5, Etude in G♭ major
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Both the verbal tempo indication and the metronome marking were added—undoubtedly by Chopin—during his proofreading of FE (→GE,EE). category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 2-14
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composition: Op. 10 No 5, Etude in G♭ major
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The lower notes of the chords on the 2nd and 3rd quavers in bars 2, 6, 10 and 14 were removed by Chopin in a proofreading of FE (→GE,EE). It was probably related to the change of the dynamic concept of these bars. Similarly in bars 50 and 54. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 2-14
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composition: Op. 10 No 5, Etude in G♭ major
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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 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 |
in 
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