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b. 11

composition: Op. 25 No 12, Etude in C minor

..

FE has an f1 instead of a1 as the 8th semiquaver in the L.H. The engraver's error is proved by the compatible version of the remaining sources, the version of analogous bar 3 and a correction written in pencil in FES

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , Errors in FE , Terzverschreibung error , Annotations in FES

b. 13

composition: Op. 25 No 12, Etude in C minor

in FC, FE, EE & GE2 (→GE3)

G in GE1

..

The version of GE1 is almost certainly an error of the engraver, corrected in GE2 (→GE3).

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 13-14

composition: Op. 25 No 12, Etude in C minor

Accent below L.H. part in FC (→GE1), FE & EE

Accent above L.H. part in GE2 (→GE3)

Two accents suggested by the editors

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In one-bar passages, Chopin generally writes accents between the parts of both hands. There where a sign would have to be placed on ledger lines in the middle of the bar, e.g., in the discussed bars or in bars 67-70, Chopin most often writes it under the part of the L.H. As there is no doubt that the accent is valid for both hands, we add the sign over the part of the R.H. Actually, it cannot be excluded that such a notation was used by the composer himself in the base text to EE – cf. bars 43-44. See also bars 45-46.

category imprint: Editorial revisions

b. 14

composition: Op. 25 No 12, Etude in C minor

..

The cautionary  before is included in EE and GE. The sign in EE may be authentic, yet an editorial revision is more likely, same as in GE.

category imprint: Differences between sources

issues: EE revisions , GE revisions , Cautionary accidentals

b. 14

composition: Op. 25 No 12, Etude in C minor

No fingering in sources

Fingering given in bar 69

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In the main text we give here Chopin fingering, written under an identical passage in bar 69 (cf. General Editorial Principlesp. 17).

category imprint: Editorial revisions