s, except Klindworth, use a B flat.
Von Bulow has common sense on his side. The B flat is a misprint. The
same authority recommends slow staccato practice, with the lid of the
piano closed. Then the hurly-burly of tone will not intoxicate the
player and submerge his critical faculty.

Each editor has his notion of the phrasing of the initial sixteenths.
Thus Mikuli's--which is normal:

[Musical score excerpt]

Klindworth fingers this passage more ingeniously, but phrases it about
the same, omitting the sextolet mark. Kullak retains it. Von Bulow
makes his phrase run in this fashion:

[Musical score excerpt]

As regards grouping, Riemann follows Von Bulow, but places his accents
differently.

The canvas is Chopin's largest--for the idea and its treatment are on a
vastly grander scale than any contained in the two concertos. The
latter are after all miniatures, precious ones if you will, joined and
built with cunning artifice; in neither work is there the resistless
overflow of this etude, which has been compared to the screaming of the
winter blasts. Ah, how Chopin puts to flight those modern men who
scheme out a big decorative pattern and then have nothing wherewith to
fill it! He never relaxes his theme, and its fluctuating surprises are
many. The end is notable for the fact that scales appear. Chopin very
seldom uses scale figures in his studies. From Hummel to Thalberg and
Herz the keyboard had glittered with spangled scales. Chopin must have
been sick of them, as sick of them as of the left-hand melody with
arpeggiated accompaniment in the right, a la Thalberg. Scales had been
used too much, hence Chopin's sparing employment of them. In the first
C sharp minor study, op. 10, there is a run for the left hand in the
coda. In the seventh study, same key, op. 25, there are more. The
second study of op. 10, in A minor, is a chromatic scale study; but
there are no other specimens of the form until the mighty run at the
conclusion of this A minor study.

It takes prodigious power and endurance to play this work, prodigious
power, passion and no little poetry. It is open air music, storm music,
and at times moves in processional splendor. Small souled men, no
matter how agile their fingers, should avoid it.

The prime technical difficulty is the management of the thumb. Kullak
has made a variant at the end for concert performance. It is effective.
The average metronomic marking is sixty-nine to the half.

Kullak