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b. 17-22
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composition: Op. 10 No 5, Etude in G♭ major
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We think that the slur added by Chopin in a proofreading of FE (→GE,EE) should be interpreted as the articulation model for the next pairs of quavers. Perhaps Chopin thought that the long accents alone are enough to suggest a correct performance. In order to avoid doubts, in the main text we suggest to complete the slurs. The additions, to a slightly greater extent, were also performed in EE3 (→EE4); according to us, the version can be considered as an alternative proposal of the authentic notation's development. category imprint: Differences between sources; Editorial revisions issues: Authentic corrections of FE |
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b. 17-18
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composition: Op. 10 No 5, Etude in G♭ major
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The missing naturals raising c category imprint: Interpretations within context; Differences between sources issues: Omission of current key accidentals , Errors of A , Authentic corrections of FE , Last key signature sign |
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b. 18
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composition: Op. 10 No 5, Etude in G♭ major
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According to us, the slur of A reaches the last note of the bar, further than it was interpreted in FE (→GE,EE). category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A |
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b. 19-20
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composition: Op. 10 No 5, Etude in G♭ major
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On the basis of Chopin's fingering given at the beginning of bar 19 in A (→FE→GE), Fontana added hints in the further part of bars 19 and in bar 20 in EE. category imprint: Differences between sources issues: EE revisions |
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b. 19-22
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composition: Op. 10 No 5, Etude in G♭ major
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In A the slur abruptly ends before the last note of bar 19, which, in our opinion, must be considered as the notation's inaccuracy. In the main text we suggest an interpretation and completion of slurring in accordance with the phrases' structure. category imprint: Interpretations within context; Differences between sources issues: Inaccurate slurs in A |
1 to c1 in 
