mUltimate Chopin

Op. 25 No 10, Etude in B minor

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b. 1

composition: Op. 25 No 10, Etude in B minor

Title & dedication in GC

Title & dedication in GE1

Title & dedication in GE2 (→GE3)

Title & dedication in FE

Title & dedication in EE1 & EE3

Title in EE2

Our suggestion
..

In the main text we give the title and dedication after the title page of the entire Opus in GC and FE.
See the Etude in A major, No. 1.

category imprint: Differences between sources

issues: EE revisions , Dedications , GE revisions

b. 1

composition: Op. 25 No 10, Etude in B minor

in GC, EE & GE2 (→GE3)

in FE & GE1
..

The use of the  time signature is surprising only in GE1, as FE did not use the  indication in the Etudes – contrary to the manuscripts – even once, neither in Op. 25 nor in Op. 10 and in the Etude in F minor, Dbop. 36 No. 1 (cf. also the Impromptu in A major, Op. 29). Anyways, the correctness and authenticity of the  time signature is undeniable with respect to the compatible version of GC and EE.
The correct time signature returned in GE2 (→GE3).
Similarly in bar 104. 

category imprint: Differences between sources

issues: Changes of metre , Inaccuracies in GE , Inaccuracies in FE , GE revisions , 4/4 or 2/2

b. 1

composition: Op. 25 No 10, Etude in B minor

No indication in GC (→GE) & FE

in EE
..

The indication sempre legato, present only in EE, was probably added by Chopin in the base text to this edition.

category imprint: Differences between sources

b. 3-4

composition: Op. 25 No 10, Etude in B minor

Eight accents in GC (→GE) & EE

Eight  in FE
..

 indications in FE is the original version – in GC one can see that Chopin deleted all of them and replaced them with accents.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections in GC

b. 4-5

composition: Op. 25 No 10, Etude in B minor

Slur in GC (possible interpretation→GE1) & EE

Slurs in GC (probable interpretation), FE & GE2 (→GE3)
..

In GC both the end of the slur in bar 4 (at the end of the line) and the beginning of the slur in bar 5, starting the new line, are written with such an extensive movement that they can be interpreted as one slur. According to us, it is, however, more likely that Chopin wanted to emphasise the beginning of the theme with a new slur. 

category imprint: Graphic ambiguousness; Differences between sources

issues: GE revisions , Inaccuracies in GC