mUltimate Chopin

Op. 10 No 4, Etude in C♯ minor

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b. 26

composition: Op. 10 No 4, Etude in C♯ minor

No marking in AI

 in FE (→GE,EE)

 suggested by the editors
..

 in FE (→GE,EE) is clearly the engraver's mistake here. It is revealed by  in the analogous situation in the previous bar and by a number of other obvious examples of distortion of this mark (see, e.g., the note to bars 16-18).

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in FE , fz – f

b. 26

composition: Op. 10 No 4, Etude in C♯ minor

g1 in AI & GE

g1 in FE (→EE)
..

AI has a g1 as the 11th semiquaver, otherwise written with a superfluous . Chopin had to then change it into a g1, which is featured in FE (→EE). The fact of not considering this change in GE – unless it is a common mistake of the engraver – may reveal that it was not introduced until the last proofreading of FE. In GE4 (→GE5) the  was deleted, unnecessary in the version with g1 (together with the equally superfluous  before a1 on the penultimate semiquaver).  

category imprint: Differences between sources

issues: Errors in GE , Authentic corrections of FE

b. 26

composition: Op. 10 No 4, Etude in C♯ minor

..

In AI and FE (→EE2) there is no  before the upper note of the octave (b2). This patent – and typical – inaccuracy of Chopin's notation was corrected in GE and EE3 (→EE4).

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Accidentals in different octaves , GE revisions , Errors of A

b. 26

composition: Op. 10 No 4, Etude in C♯ minor

..

There are no naturals before the B-b octave in AI. It is a patent inaccuracy.

category imprint: Differences between sources

issues: Accidentals in different octaves

b. 26

composition: Op. 10 No 4, Etude in C♯ minor

No fingering in AI & FE (→GE)

Fingering in EE
..

In EE Fontana added a fingering modelled on the previous bar.

category imprint: Differences between sources

issues: EE revisions