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b. 18-19
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composition: Op. 25 No 7, Etude in C♯ minor
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The authenticity of the ten. indications does not raise any doubts here. Chopin added them in the proofreading of FE or – which is more likely – still in the handwritten base text to this edition. The second possibility is backed by the presence of such indications in analogous bar 43 and similar bars 60-61, also in other sources – in bar 43 in GC, while in bars 60-61 in EE. Chopin could have added them subsequently in various manuscripts, however, he did not pay attention to synchronising the additions. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 19-20
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composition: Op. 25 No 7, Etude in C♯ minor
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The fingering written in pencil by Chopin in FES. The last two numerals are written over them in ink by the pupil. category imprint: Differences between sources |
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b. 19
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composition: Op. 25 No 7, Etude in C♯ minor
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The absence of category imprint: Differences between sources issues: EE revisions |
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b. 21
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composition: Op. 25 No 7, Etude in C♯ minor
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category imprint: Differences between sources issues: EE revisions |
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b. 22
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composition: Op. 25 No 7, Etude in C♯ minor
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In the main text we give the fingering written with Chopin's hand in FED. The digits added in FES undoubtedly define the same fingering. The fingering of EE2 (→EE3), in the initial phase different from the Chopin one, although equally justified from the pianistic point of view, is certainly non-authentic. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Annotations in FES |
in both first impressions of 
