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Issues : GE revisions

b. 1

composition: Op. 10 No 10, Etude in A♭ major

in A (literal reading)
 

in FE2

in GE

in EE3

in EE4
..

In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and dedication (in EE) most probably come from the editors. See Etude in C, No. 1, bar 1.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Dedications , GE revisions

b. 1-2

composition: Op. 10 No 10, Etude in A♭ major

9 slurs in A (→FE)

11 slurs in GE & EE

No slurs—our alternative suggestion
..

It is unclear how to treat the short, two-quaver-long slurs visible in the sources. They do not raise any doubts in A, in which they are compatible with the accents over each sixth. However, after removal of the majority of accents in a proofreading of FE (→GE,EE), the slurs seem not to correspond to the new accentuation. The fact of leaving them could have been a compromise, whose aim was to avoid an additional, significant complication of a proofreading. On the other hand, it cannot be excluded that Chopin removed the accents in order not to change their layout, but to avoid exaggeration resulting from double indications. Therefore, having no absolute certainty of Chopin's intention, we suggest a version without slurs as a recommended alternative to the main text from A (→FE).
In GE and EE the authentic slurs were complemented with another two in the 2nd half of bar 2, which does not have any influence on the performance, as in each case the slurs are to be considered as a model and binding in bars 1-4 (in A) or 1-8 (editions).

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 1

composition: Op. 10 No 4, Etude in C♯ minor

in AI

in FE1

in FE2

in GE1

GE1a (→GE2→GE3→GE4→GE5)

in EE2 (→EE3)

in EE4
..

Chopin did not write the title of the piece in AI, although it is hard to believe that in August 1832, at the stage of completing the entire Op. 10, he could have even considered naming it differently than Etude. The conviction is not hampered by the fact that at the end of the editorial autograph of the Etude in E major, No. 3, Chopin uses the determination of tempo-character il presto con fuoco for the identification of the subsequent etude in the collection. In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and the dedication (in EE) most probably come from the editors. See the Etude in C major, No. 1, bar 1.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Dedications , GE revisions

b. 1

composition: Op. 10 No 3, Etude in E major

AI

A

FE1

FE2

GE1

GE1a (→GE2→GE3→GE4→GE5)

EE2 (→EE3)

EE4
..

In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and dedication (in EE) most probably come from the editors. See the Etude in C major, No. 1, bar 1.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Dedications , GE revisions

b. 1

composition: Op. 25 No 1, Etude in A♭ major

Title in AI & CDP

Title & dedication in A

Title & dedication in GE1 (→GE1a)

Title & dedication in GE2 (→GE3)

Title & dedication in FE

Title & dedication in EE1 & EE3

Title in EE2

Our suggestion
..

In the main text we give the title and dedication in accordance with the title page of the entire opus in A (we develop the Mme and Csse abbreviations used in A) and FE. In A (→GE) and FE, the particular etudes are provided with an additional title, Etude, with a corresponding ordinal number, which we represent through the number preceding the score. In EE, the numbering includes 12 Etudes, Op. 10, hence this etude is No. 13.
In GE and EE, the title includes the number of etudes in the entire Op. 25, which could be related to the division of the entire opus into two books, 6 etudes each, performed in these editions. Nothing indicates that Chopin considered this information to be important, although in other opuses including groups of pieces (Mazurkas, Nocturnes, Polonaises, Preludes, Waltzes), he would generally give the number of pieces.
EE2 omits the dedication, as the individual title page was replaced with a collective one, common for all Chopin pieces published by Wessel; in EE3, the dedication was added above the score on the 1st page.

category imprint: Differences between sources

issues: EE revisions , Dedications , GE revisions , Deletions in A