Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main


b. 52

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

c1 & c3 in AI

c1 & c3 in A (→FEGE,EE)

..

The version of AI is undoubtedly earlier and was changed – as it seems, definitely – already at the stage of writing A (→FEGE,EE).

category imprint: Differences between sources; Corrections & alterations

b. 53-54

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

..

The c-c1 octave at the last semiquaver in bar 53 was written by Chopin in AI after trying a number of different versions. The version, written in the final form in A, was then changed by Chopin for an a-f1 sixth at the time of proofreading FE (→GE,EE). Of course, the fingering added by Fontana in EE concerns only the last version (cf. bars 53-57).

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 53-57

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

No fingering in AI & A (→FEGE)

Fingering in EE

..

The fingering of EE is an addition of Fontana. See also bars 53-54.

category imprint: Differences between sources

issues: EE revisions

b. 53

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

..

In FE (→GE,EE) there is no 'e' conjunction between ritenuto and cresc.

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 54

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

No marking in AI

in A

in FE (→GE,EE)

..

In the main text we give  written in A. As in many different cases (see e.g. the Etude in C minor, No. 4, bar 1),  in FE (→GE) is almost certainly a result of misunderstanding of the manuscript by the engraver of FE.

category imprint: Differences between sources

issues: Inaccuracies in FE , fz – f