mUltimate Chopin

Op. 25 No 11, Etude in A minor

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b. 21

composition: Op. 25 No 11, Etude in A minor

Two fingering digits in GC (→GE) & EE3

Five digits in FE

No fingering in EE1 (→EE2)
..

FE includes more fingering numerals than GC, in which there are only two numerals (written with the copyist's hand), or EE1, which does not include any. Additional indications in FE were added either still in the base text (yet after having been copied by Gutmann) or in the proofreading of this edition. The fingering of EE3 probably comes from GE.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions

b. 22

composition: Op. 25 No 11, Etude in A minor

No digit in GC (→GE)

'5' in FE & EE
..

Lack of the '5' digit over the 7th semiquaver in GC (→GE) is certainly an oversight of the copyist.

category imprint: Differences between sources

issues: Errors of GC

b. 22

composition: Op. 25 No 11, Etude in A minor

No sign in GC (→GE) & FE

 in EE
..

The  sign was most probably added by Chopin in the base text to EE.

category imprint: Differences between sources

b. 23

composition: Op. 25 No 11, Etude in A minor

in GC (→GE) & EE

No marking in FE
..

The  indication, added in GC (→GE) by Chopin, is also in EE. The absence of the sign in FE reflects probably the original state of the Stichvorlage manuscripts. Similarly dim. in bars 25-26 and  in bar 31.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections in GC

b. 23

composition: Op. 25 No 11, Etude in A minor

Octave in GC (→GE), FE & EE3

E1 in EE1 (→EE2)
..

The single E1 in EE1 (→EE2) is probably authentic, yet one cannot entirely exclude a misinterpretation of the autograph. Cf., e.g., the Waltz in A major, Op. 42, bar 48. Introduction of an octave in EE3 is almost certainly a result of comparison with GE.   

category imprint: Differences between sources