Issues : Errors in FE

b. 13

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

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In GC and FE there are no sharps raising g2-g3 to g2-g3. The patent error was corrected in GE, EE also features the correct text.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , Accidentals in different octaves , GE revisions , Errors of GC

b. 26

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

E in GC, FE, EE1 (→EE2) & GE2 (→GE3)

E in GE1 & EE3

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In GC, FE and EE there are no accidentals before the 9th quaver, so it is not entirely clear whether it is to be read as e-e1-e2-e3 or e-e1-e2-e3. The comparison with the previous bar indicates a typical for Chopin oversight of naturals returning e and e2. GE1, however, added the  raising e3 to e3, which is certainly a mistake (yet it was repeated in EE3). The correctly written text is featured only in GE2 (→GE3).

In EE1 the top note of the part of the R.H. is mistakenly written as d3

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , Errors in EE , Omissions to cancel alteration , Errors in GE , GE revisions , Errors of GC

b. 31

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

'4' in GC (→GE) & EE

No digit in FE

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Lack of the first fingering numeral in FE is probably a result of a mistake.

category imprint: Differences between sources

issues: Errors in FE

b. 71

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

Crotchet with mordent in GC (→GE) & EE2 (→EE3)

Crotchet without mordent in FE

Quavers with mordent in EE1

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The version of GC (→GE) and FE, identical with the version of analogous bar 51, is most probably earlier (omission of mordent in FE is almost certainly a mistake). Lack of corrections in GC proves that the version of this copy was also in the autograph rewritten by the copyist. The version with quavers only present in EE1 must have been introduced by Chopin instead of the previous one in the manuscript being the base text to this edition. Therefore we give this version as the later one in the main text. This type of breaking a longer rhythmic value is a characteristic for Chopin way of enriching the melodic line at the time of repeating phrases (cf., e.g., Mazurkas in A major, Op. 7 No. 4, bars 25-32, G minor, Op. 24 No. 1, bars 57 and 59C major, Op. 24 No. 2, bars 97-104C minor, Op. 50 No. 3, bars 77-88, A minor, Op. 59 No. 1, bars 3-6 and 27-30, Waltz in E major, Op. 18, bars 37-51).
EE2 (→EE3) introduced an analogous version to bar 51, most probably under the influence of FE.

category imprint: Differences between sources; Corrections & alterations

issues: Errors in FE , Main-line changes

b. 82

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

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The top note of the chord on the 2nd beat of the mar in FE is a b. The mistake was corrected in FED. The remaining sources feature the correct text.

category imprint: Interpretations within context; Differences between sources

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