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b. 56
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composition: Op. 25 No 2, Etude in F minor
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The notation of this bar is erroneous or inaccurate in the majority of the sources. Most probably, Chopin, writing this fragment in [A] for the third time (after analogous bars 6 and 25), had already such a strong correlation of the notes with the proper sound that he did not notice the missing
The cautionary category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: EE revisions , Errors in FE , Errors in EE , Omissions to cancel alteration , Errors in GE , GE revisions , Errors of A , Errors of GC |
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b. 56-57
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composition: Op. 25 No 2, Etude in F minor
category imprint: Differences between sources |
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b. 57
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composition: Op. 25 No 2, Etude in F minor
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There is no doubt about the moment of breaking the slur in the 2nd half of bar 57, despite differences in the sources. The compatible versions of AW and FE are additionally confirmed by the slurring of AW in bars 7 and 26 and, what is important, by the separation sign added by Chopin in FED between the 8th and 9th quavers in the bar. The slurring of GC (→GE1) is certainly erroneous (inaccurate, sometimes even incongruous slurs are characteristic for Gutmann as copyist). The version of GE2 (→GE3) is a non-authentic attempt to agree the slurs and staccato (portato) dots. It is much more difficult to explain the origin of compatible version of CDP and EE, perhaps it is the original notation of [A], while the separation of slurs in the 2nd half of the bar took place between preparing the copy, being base text to EE, and handing the autograph to Gutmann, whose result was GC. The issue of number of the portato dots – see the adjacent note. category imprint: Interpretations within context; Differences between sources issues: GE revisions , Inaccuracies in GC |
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b. 57
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composition: Op. 25 No 2, Etude in F minor
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Same as in the case of slurs, in the main text we give 4 portato dots, on the basis of the authority of AW and FE. However, one has to state that in the majority of the sources coming from [A] one could see 5 dots. Therefore, it is possible that it is indeed Chopin's last intention in this respect (the version of AW would be simply earlier then and FE – inaccurate).
However, there is also a possibility that the number of dots should be related to the slurring – continuous slur in CDP and EE to determine the performance in which after d category imprint: Differences between sources |
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b. 58-59
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composition: Op. 25 No 2, Etude in F minor
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The compatibility of the sources deriving from [A] proves that the continuous slur must have been written there in a way that did not raise any doubts. category imprint: Differences between sources; Corrections & alterations |
1) in 
before the 4th quaver. Cancelling this alteration was, as usual, obvious, hence it was not marked even when the composer would correct the notation of this bar in 
).
