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Op. 25 No 3, Etude in F major

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b. 41

composition: Op. 25 No 3, Etude in F major

..

In GE, as well as in EE3, a cautionary  before g1 in the L.H. was added.

category imprint: Differences between sources

issues: GE revisions

b. 43

composition: Op. 25 No 3, Etude in F major

in GC (→GE) & FE

No marking in EE
..

The absence of  in EE – unless it is the engraver's oversight – may mean that Chopin overlooked the base text to this edition, adding the hint in Stichvorlage manuscripts. It is also possible that he deleted the sign written before the 2nd beat of the bar, willing to move it to the beginning, yet he did not finish the correction (such a correction can be seen in GC, see also bar 29).

category imprint: Differences between sources; Corrections & alterations

issues: EE inaccuracies , Authentic corrections in GC

b. 45-46

composition: Op. 25 No 3, Etude in F major

..

GC and FE lack two flats before as notes in various octaves, while EE – one. These patent inaccuracies do not impede the correct interpretation of the text at all and they were corrected in GE (similarly as in bar 43 in GE1 there are no signs in the 2nd group in bar 45).  

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , Inaccuracies in FE , GE revisions , EE inaccuracies , Inaccuracies in GC

b. 49-52

composition: Op. 25 No 3, Etude in F major

Dots in GC (→GE)

Wedges in FE & EE
..

We consider Gutmann's misunderstanding of the notation of [A] to be the most probable explanation of the difference between GC (→GE) and FE and EE. The same applies to bars 53-58 and 60-64.

category imprint: Differences between sources

issues: Wedges , Inaccuracies in GC

b. 51

composition: Op. 25 No 3, Etude in F major

c in GC (→GE1), EE & GE3

d in FE & GE2
..

The version of FE with d is a result of Chopin's proofreading – there are visible traces of correction in print. It cannot be excluded that the version with c was originally present also in bars 3 and 11, where Chopin corrected it in [A]. It would be then a case of overlooking one place while proofreading a few analogous bars (quite a frequent phenomenon in Chopin's pieces). Both changes in later GE are revisions – in GE2 this figure was assimilated to analogous bars 3 and 11; GE3 returns to the version of the base text, i.e. GC.

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of FE