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b. 3

composition: Op. 25 No 8, Etude in D♭ major

e2-c3 in A (→GE) & FE

e2-c3 in EE

..

The authenticity of the version with c3 is undeniable – Chopin fingered it twice and heard it then during the lessons. However, it cannot be said of the version with c3 – the copyist or reviser of EE could have added a , considering the failure to preserve the rule of parallel movement of the voices to be a sign of mistake. However, it does not mean that it was like that – it could have also been Chopin that introduced this variation.

category imprint: Differences between sources

issues: EE revisions

b. 3

composition: Op. 25 No 8, Etude in D♭ major

..

In A (→GE) and FE there is a superfluous  (cautionary?) before d2. The absence of the sign in EE may be result of a revision.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Cautionary accidentals

b. 3

composition: Op. 25 No 8, Etude in D♭ major

..

In the main text we add a cautionary  before e3; the addition was already introduced in GE and repeated in EE3. In GE2 (→GE3) a poorly justified cautionary  was added also before d3 (as well as an erroneous  before the bottom note of the 10th sixth).

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 6

composition: Op. 25 No 8, Etude in D♭ major

..

FE features eas the top note of the sixth beginning the 2nd half of the bar. This patent error was corrected in both pupils' copies, including annotations in this Etude FED and FES.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , Errors in FE , Annotations in FED , Annotations in FES

b. 7

composition: Op. 25 No 8, Etude in D♭ major

..

In GE1 there is no  raising b2 to b2. The mistake was corrected in GE2 (→GE3).

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE , GE revisions