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b. 55

composition: Op. 25 No 4, Etude in A minor

No sign in A (→FE) & EE1 (→EE2)

 in FC (→GE) & EE3

..

The  sign in FC (→GE) was most probably added by Chopin. From GE it was also passed to EE3.

category imprint: Differences between sources

issues: EE revisions , Authentic corrections of FC

b. 57

composition: Op. 25 No 4, Etude in A minor

Pedalling in A (→FE)

No markings in FC (→GE) & EE

..

We include the pedalling on the last crotchet in the bar, written only in A (→FE), in the main text, as it seems to us that it constitutes a natural addition to the indications of the remaining sources.

category imprint: Differences between sources

b. 58-60

composition: Op. 25 No 4, Etude in A minor

No markings in A

Pedalling in FC (→GE), FE & EE

..

The pedalling of FE, generally consistent with the indications written by Chopin in FC and base text to EE, was added by him at the time of proofreading. We discuss minor differences in the indications separately – cf. bars 5859 and 61.

category imprint: Differences between sources

issues: Authentic corrections of FE , Authentic corrections of EE , Authentic corrections of FC

b. 58

composition: Op. 25 No 4, Etude in A minor

 in A (→FE) & EE, more probable reading of FC

 in FC, literal reading

Less probable reading of  in FC (→GE)

..

The placement of the second  sign, written here by Chopin in FC, raises some doubts. Although its interpretation in GE is possible, as far as the sound is concerned, the position of Chopin  indications in, e.g., bars 53 and 62, proves that the discussed notation is simply inaccurate, which was not noticed by the composer, occupied with hasty corrections.

category imprint: Differences between sources

issues: Inaccuracies in FC

b. 59-61

composition: Op. 25 No 4, Etude in A minor

No markings in A (→FCGE) & EE

Pedalling in FE

..

Same as in bar 54, Chopin added pedalling marks at the beginning of bars 59 and 61, while proofreading FE.

category imprint: Differences between sources

issues: Authentic corrections of FE