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Op. 10 No 4, Etude in C♯ minor

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b. 50

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

..

In the last group of semiquavers, in the place where FE (→GE,EE) has a b1, in AI there is a c2. By introducing this clearly justified correction, Chopin did not check its result precisely – in FE (→GE1→GE1a,EE) there is no  before c2, still necessary despite the change of the previous note from c2 to  b1. This patent oversight was corrected in GE2 (→GE3→GE4→GE5).  

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

issues: Errors in FE , Omissions to cancel alteration , GE revisions , Enharmonic corrections

b. 51

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

Octave &  in AI

Octave staccato

Single note in FE (→GE,EE)
..

In AI, the return of the initial theme of the Etude was emphasised with an octave,  and pedal. In the version prepared for print, Chopin changed the concept, replacing the "strong attack" with a more distinct motivic allusion to the beginning of the piece.

category imprint: Differences between sources; Corrections & alterations

b. 53

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

in AI

in FE (→GE,EE)
..

Same as in bar 3, the version of AI had to be also in [A], as there are visible traces of its deletion in FE. Similarly in bars 11 and 61.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 61

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

in AI

in FE (→GE,EE)
..

Same as in bar 11, the version of AI had to be also in [A], as there are visible traces of its deletion in FE. Similarly in bars 3 and 53.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 61

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

..

We add a cautionary  before b2. The sign was already introduced in GE2 (→GE3→GE4→GE5) and EE4.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions