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Op. 10 No 3, Etude in E major

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b. 21

composition: Op. 10 No 3, Etude in E major

No indication in AI & A

poco più animato in FE (→GE,EE)

Our suggestion
..

There is no doubt that the more vivid tempo is valid from the new phrase. The fact of placing the added in a proofreading of FE (→GE,EE) indication already at the beginning of bar 21 most probably stems from the fact that the bar is the last one on the page in FE and the inscription started in the middle of the bar, hence in the place, where the indication is to be applied, simply would not fit.

category imprint: Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations

issues: Inaccuracies in FE , Authentic corrections of FE

b. 21

composition: Op. 10 No 3, Etude in E major

Long accent in A

Short accent in FE (→GE,EE)
..

According to us, the accent written in A is to be interpreted as long. The sign in FE, despite that it recreates the notation of A quite accurately, due to the more constricted notation, is rather a short accent and this is how it was understood in GE and EE. 

category imprint: Differences between sources

issues: Long accents

b. 21-23

composition: Op. 10 No 3, Etude in E major

Slurs in AI

Slur in A (→FE→GE,EE)
..

Two slurs of AI is a certain germ of slurring, changed and developed in A (→FE→GE,EE).

category imprint: Differences between sources; Corrections & alterations

b. 21-25

composition: Op. 10 No 3, Etude in E major

No fingering in AI & A (→FE→GE)

Fingering in EE
..

The fingering of EE is an addition by Fontana.

category imprint: Differences between sources

issues: EE revisions

b. 22-28

composition: Op. 10 No 3, Etude in E major

Additional crotchets in AI

No crotchets in A (→FE→GE,EE)
..

The version of the 2nd half of bars 22, 24, 26 and 28, written in AI, was simplified by Chopin already at the stage of writing A (→FE→GE,EE).

category imprint: Differences between sources; Corrections & alterations