mUltimate Chopin

Op. 10 No 5, Etude in G♭ major

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Issues : EE revisions

b. 55-60

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

No pedalling in A

Pedalling in FE (→GE,EE)
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Chopin added the pedalling in a proofreading of FE (→GE,EE). The omitted  mark in FE at the end of bar 59 was added in GE and EE.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE , GE revisions , Authentic corrections of FE

b. 56

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

..

In EE2 the  raising d1 to d1 was omitted.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in EE

b. 57-60

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

Dots in A

FE (→GE,EE)
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In A Chopin provided with dots only the bass notes and only in bars 57-58, yet in a proofreading of FE (→GE1) he also added the dots under the chords (except for bar 58, which is certainly an oversight). In GE2 and subsequent and in EE the omitted signs were completed.

Dots in the 2nd half of bar 59 are included in the variants of the last chord in this bar.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE , GE revisions , Authentic corrections of FE

b. 60

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

g2 in A, GE, EE, FED & FES

b2 in #Wf
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As the 7th note FE has b2 instead of g2, which appears in the remaining sources. It is certainly a mistake, corrected in the remaining sources, as well as in FED and FES. 

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FED , GE revisions , Annotations in FES

b. 65-66

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

No fingering in A (→FE→GE)

Fingering in EE

Fingering written into FED
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The meaning of the entry in bar 66 is unclear, although most probably it concerns simultaneous performance of the e1-g1 third with the 1st finger of the L.H. (the grip was marked by Chopin on a number of occasions, e.g., in the Piano Concerto in E minor, Op. 2, 2nd mov., bar 16 or the Prelude in A major, Op. 28 No. 7, bar 12). Another possibility is the use of 1st fingers of both hands, which was indicated by Fontana in EE.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FED