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Issues : EE 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 4, Etude in C♯ minor

No fingering in AI & FE (→GE)

Fingering in EE

Fingering written into FES
..

In the version prepared for print, the first fingering numerals appear not until bar 12. However, during the lessons with Chopin, the indications concerning the fingering proved to be necessary already earlier. In the main text we consider the fingering written by Chopin in FES. In EE Fontana also offered his suggestion for bar 1, yet this fingering, avoiding the use of the 1st finger on black keys, diverts from the one by Chopin.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FES

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. 1-5

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

No fingering in AI, A & FE (→GE)

Fingering in EE
..

The detailed fingering of the first phrase in EE is an addition by Fontana.

category imprint: Differences between sources

issues: EE 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