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b. 4
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composition: Op. 25 No 2, Etude in F minor
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In AW, GC, FE and EE1 (→EE2), there is no category imprint: Interpretations within context; Differences between sources issues: EE revisions , Omissions to cancel alteration , GE revisions |
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b. 5-6
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composition: Op. 25 No 2, Etude in F minor
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Cf. General Editorial Principles, p. 17. category imprint: Editorial revisions |
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b. 5
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composition: Op. 25 No 2, Etude in F minor
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There is no pedalling in the previous sources. While preparing the Etude for print, Chopin most probably would add indications in three Stichvorlage manuscripts, which is directly proven by GC (the signs are written with Chopin's hand), and indirectly also by CDP, probably reflecting the state of [A] before the last retouch and additions. Hence, the earlier pedal release in FE cannot be considered a mistake, as analogous bars 24 and 55 are marked in the same way. In the main text, we give the possibly later notation of GC (→GE) and EE – cf. bar 24. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections in GC |
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b. 6-7
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composition: Op. 25 No 2, Etude in F minor
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Cf. General Editorial Principles, p. 17. category imprint: Differences between sources; Editorial revisions |
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b. 6-8
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composition: Op. 25 No 2, Etude in F minor
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In the version prepared for print, Chopin abandoned in this fragment any attempts to suggest any phrase divisions, both structural (AT) and expressive (AW). The written in AW phrase breath effect in the 2nd half of bar 7 (and 26) was used – in the form underlined with articulation – only on the occasion of the last appearance of this fragment (bar 57). category imprint: Differences between sources; Corrections & alterations |
returning b
2. This characteristic for Chopin mistake was corrected in the remaining sources. In the repetition of this phrase in bar 23 the error appears only in 
