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b. 25-26
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composition: Op. 25 No 7, Etude in C♯ minor
..
The category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 26
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composition: Op. 25 No 7, Etude in C♯ minor
..
In GC (→GE) Chopin wrote here a g category imprint: Differences between sources; Corrections & alterations issues: Main-line changes , Authentic corrections in GC |
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b. 26
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composition: Op. 25 No 7, Etude in C♯ minor
..
As the 2nd note of the last sextuplet GE1 includes the erroneous D category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 26
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composition: Op. 25 No 7, Etude in C♯ minor
..
The fingering of both copies complements each other, hence in the main text we give it together. The fingering added by the reviser of EE2 (→EE3) is entirely compatible in this bar with the one following from Chopin indications. It also concerns the fingering of the first, thirteen-note group of demisemiquavers in EE – see a previous note in this bar. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Annotations in FES |
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b. 27
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composition: Op. 25 No 7, Etude in C♯ minor
category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
in 
note between f
and a, increasing the number of the 1st group of demisemiquavers from 13 to 14. We give this version in the main text, being an expression of the latest proved decision of Chopin. However, the question whether it can be considered as the only final version of this run remains open. Chopin did not introduce it neither in the remaining two Stichvorlage manuscripts, nor in the proofreading of 
instead of E
present in 
.