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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 8

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

 in GC

No sign in FE

 in EE

 in GE1

 in GE2 (→GE3)

..

The range and placement of the  sign in EE may be authentic. In turn, the gradually extended hairpins in GE are certainly a result of routine action of the engraver or reviser of this edition. Lack of the sign in FE is probably Chopin's oversight – see the note on dim. 

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 10

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

No mark in GC  (→GE)

Accent in FE & EE

..

The long accent was probably overlooked in GC (→GE). Similarly in analogous bar 74, in which, however, the sign is present only in EE.

category imprint: Differences between sources

issues: Errors of GC

b. 12

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

Wedge in GC & EE

Dot in FE & GE

..

The wedge in GC, confirmed by EE, was reproduced in GE as a staccato dot. Therefore, the evaluation of the authenticity of the dot in FE also advises caution. The tendency to interpret wedges as dots was very clear in the B&H publishing houses – cf., e.g., the Nocturne in D major, Op. 27 No. 2, bar 12 or the Scherzo in C minor, Op. 39, bar 18.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , Wedges

b. 16

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

 

 in GE2 (→GE3)

No sign in EE

..

In the main text we give the  hairpins in accordance with the Chopin entry in GC (→GE1). The composer was forced to correct the sign, written by the copyist an entire beat too far.

category imprint: Differences between sources

issues: Authentic corrections in GC

b. 20-22

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

No marks in GC, FE & EE

Two dots in GE1

Dot in GE2 (→GE3)

..

GE added staccato dots at the beginning of bars 20 and 22 – both in GE1, only the second one in GE2 (→GE3).

category imprint: Differences between sources

issues: GE revisions