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b. 93
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composition: Op. 25 No 10, Etude in B minor
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According to us, the value of the dotted minim, with which the b1 note is provided in GC (→GE1), is not a mistake – the note can be considered as belonging to two voices: melodic, led in octaves, and accompanying, creating the whole-bar-long filling of the octave melody together with e1. The notation used by Chopin can be, however, misleading (the sum of the rhythmic values of the top voice gives 4 crotchets), therefore, in the main text we suggest its modified version, in which we use the authentic graphical layout of FE. The version of EE may be a result of revision of such notation as in GC. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 95-97
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composition: Op. 25 No 10, Etude in B minor
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Among the four source versions of the slurring, only the first two – GC and EE and FE – are probably authentic. The version of GE1 is certainly erroneous – the engraver confused the bars and inserted the division of the slur one bar too late. In turn, the reviser of GE2 (→GE3) probably assumed that the slur of the grace note and the phrasing slur, which merge in GC, create one slur beginning from the grace note. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , GE revisions , Inaccuracies in GC |
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b. 95-98
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composition: Op. 25 No 10, Etude in B minor
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It is hard to state how the difference between the sources was created, as the traces of corrections are to be seen neither in GC nor in FE. Due to the fact that no source features a tie sustaining F category imprint: Differences between sources |
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b. 96
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composition: Op. 25 No 10, Etude in B minor
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In the main text we give an undoubtedly authentic complete notation of GC and EE (with the little slur and arpeggio). The versions of GE result from routine interpretation (GE1) or misunderstanding of the manuscript (GE2 and GE3). category imprint: Differences between sources issues: GE revisions |
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b. 98
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composition: Op. 25 No 10, Etude in B minor
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The arpeggio preceded with a grace note is a very characteristic ornament for Chopin – cf., e.g., the Etude in A minor, No. 4, bar 63. It is almost certain that Chopin thought about this type of figure also in the discussed bar. The little slur added in GE1, changing the sense of the ornament, is certainly non-authentic. In turn, the notation of EE may come from Chopin (cf. bar 96) and we adopt it as the base of our, completed with the sign of arpeggio, suggestion of the main text. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
repeated in bars 96 & 98 in 
