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b. 1
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composition: Op. 25 No 12, Etude in C minor
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In the main text, we give the title and dedication after the title page of the entire Opus in FC and FE. category imprint: Differences between sources issues: EE revisions , Dedications , GE revisions |
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b. 1
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composition: Op. 25 No 12, Etude in C minor
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The use of category imprint: Differences between sources issues: Changes of metre , Inaccuracies in GE , Inaccuracies in FE , GE revisions , 4/4 or 2/2 |
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b. 1
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composition: Op. 25 No 12, Etude in C minor category imprint: Differences between sources issues: EE revisions |
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b. 7-8
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composition: Op. 25 No 12, Etude in C minor
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It is unknown who interpreted Chopin's notation more accurately – Fontana in FC (→GE1) or the engravers of FE and EE. The version of GE2 (→GE3) is certainly non-authentic (and erroneous). The authenticity of the version of FC is additionally supported by the compatibility of the range of the hairpins in both analogous places (here and in bars 53-54). category imprint: Differences between sources issues: GE revisions |
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b. 8
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composition: Op. 25 No 12, Etude in C minor
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It is hard to assume how the difference between the versions of FE and EE1 and these of FC (→GE) and EE2 (→EE3) occurred. In FC, the naturals introducing a are written by the copyist, which means that they were present in the manuscript, probably an autograph copied by Fontana. Therefore, the absence of these signs in FE and EE1 could be explained by their later deletion by Chopin in the base texts to these editions. Hence a regular, chromatic progression of minor thirds in the middle voices would be then introduced only in bar 54 as a kind of variation of the repetition of this place. However, not being certain if it was so – the versions of FE and EE1 could have been results of mistakes – in the main text we give the undoubtedly authentic version of FC (→GE). category imprint: Differences between sources issues: EE revisions , Errors in FE , Errors in EE , Last key signature sign |
major, 
time signature surprises only in 
indication was not used in the Etudes – contrary to the manuscripts – at all, neither in Op. 25 nor in 
in 
