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b. 51

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

'2' written in AW

No handwritten fingering

..

In the main text we give Chopin fingering written in bars 50-51 at the first appearance of an identical figure in bars 19-20. The same applies to the fingering versions of AW and FES, written in four places in bars 53-57.

category imprint: Differences between sources

b. 51

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

No indication in AW & EE

in CDP, GC (→GE) & FE

..

In AW, where the previous bar ended with  and where the introduction of the leit motif had, as it seems, a clearly different character, the missing indication is not surprising. In turn, omission of the indication in EE is probably a result of the copyist's or engraver's oversight, as it must have already been in [A].

category imprint: Differences between sources

issues: Errors in EE

b. 53

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

'1' written in AW

No handwritten fingering

category imprint: Differences between sources

b. 54-55

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

 in AW & GC

 in CDP & FE

 in GE

 in EE

..

It is unclear, which length of  corresponded to the last Chopin's intention. Compatibility of AW and GC (→GE, inaccurately) suggests that GC may include an earlier version, changed by Chopin in the remaining Stichvorlage manuscripts. However, the presence of the longer sign in CDP, generally compatible with FE (and to a lesser extent with EE) denies this interpretation. Perhaps the concurrence of AW and GC is accidental and the sign could have been inaccurately copied by Gutmann.

category imprint: Differences between sources; Corrections & alterations

issues: Inaccuracies in GE

b. 55-56

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

Fingering in AW

No handwritten fingering

category imprint: Differences between sources