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b. 48-50

composition: Op. 25 No 2, Etude in F minor

in AW

No indications in CDP, GC (→GE), FE & EE

..

It is not entirely clear whether the agogic indications of AW – poco ritenuto in bar 48 and a tempo in bar 50 – may be considered as independent from the remaining performance indications in this section – see the notes to bars 43-45, 47 and 47-48, as well as 49-50. According to us, poco ritenuto is not contrary to smorzando, while a tempo is rather to be linked with  in bar 50 rather than with .

 

 

category imprint: Differences between sources

b. 49-50

composition: Op. 25 No 2, Etude in F minor

 in AW

  in CDP, GC (→GE), FE & EE

  in EE

..

According to us, the  hairpins written in AW, together with a tempo appearing in the same place, define a clearly different from the final one concept of return of the leit motif of the Etude. See also bar 51.

It is hard to state whether the hairpins of EE were inaccurately reproduced by the copyist or engraver or whether they were written in a slightly different way by Chopin in the base text to this edition.  

category imprint: Differences between sources; Corrections & alterations

issues: EE inaccuracies

b. 49

composition: Op. 25 No 2, Etude in F minor

Fingering in AW

No handwritten fingering

category imprint: Differences between sources

b. 50

composition: Op. 25 No 2, Etude in F minor

Fingering in AW

No handwritten fingering

..

We give Chopin fingering drawn from AW in the main text at the first appearance of an identical figure in bar 19.

category imprint: Differences between sources

b. 51-69

composition: Op. 25 No 2, Etude in F minor

..

AT does not include this part of the Etude.

category imprint: