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b. 56

composition: Op. 10 No 9, Etude in F minor

No marking in AI & A

 in FE (→GE,EE)

..

While proofreading FE (→GE,EE), Chopin underlined the climax with .

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 56

composition: Op. 10 No 9, Etude in F minor

Less likely reading of slur in AI & A (→FEGE,EE)

More likely reading of slur in AI & A

..

Both in AI and A the slur beginning in this bar may be understood as embracing only the semiquavers or the entire motif. In FE (→GE,EE) it was the first possibility that was adopted, while according to the editors of mUltimate Chopin, it is the second one that is more likely – cf. bar 28.
The mark in AI is the only slur written in this manuscript from bar 37.

category imprint: Interpretations within context; Differences between sources

issues: Inaccurate slurs in A

b. 56

composition: Op. 10 No 9, Etude in F minor

Dotted crotchet & rest in AI

Minim in A (→FEGE,EE)

..

The rhythm of AI is the original version.

category imprint: Differences between sources; Corrections & alterations

b. 56-58

composition: Op. 10 No 9, Etude in F minor

Dot & slur in A

Slurs in FE (→GE,EE)

..

The slurs in bars 57-58 (with the last quaver in bar 56) adopted to the main text are a result of Chopin's proofreading of FE (→GE,EE). In A the only marks which could indicate articulation in this section appear in the 1st half of bar 57. We interpret them as a dot and slur, although their meaning is uncertain.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 57-63

composition: Op. 10 No 9, Etude in F minor

No fingering in AI & A

Fingering in FE (→GE)

..

Chopin added the digit '4' in the 2nd half of bar 57 at the time of proofreading FE (→GE). In EE Fontana added '3' on the 2nd semiquaver in this bar and repeated this fingering scheme (3-4) in the next six bars.

category imprint: Differences between sources

issues: EE revisions , Authentic corrections of FE