Issues : Inaccuracies in FE
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b. 2-14
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composition: Op. 10 No 5, Etude in G♭ major
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The pedal markings added in a proofreading of FE in bars 2, 6 and analog. differ in the placement of the pedal release's mark, which in bars 2 and 14 (as well as in 50) is under the 3rd quaver of the bar, while in bar 6 – under the 2nd one. According to us, it cannot be excluded that Chopin had a different vision of pedalling in bars 1-2 and 9-10 (the first bar of the pair without pedal and in the second one, a half-bar long pedal) and a different one in bars 5-6 and 13-14 (all bars with a pedal to the 2nd quavers). We suggest this possibility, in which the category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: EE revisions , Inaccuracies in FE , GE revisions , Authentic corrections of FE , No pedal release mark |
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b. 2-3
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composition: Op. 10 No 6, Etude in E♭ minor
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The inaccurate and unclear slurs of A were ignored in FE (→GE,EE). Their range, particularly in the case of bar 3, is uncertain. We do not include them in the main text, as Chopin did not repeat them in A and in analogous bars 10-11 and 42-43, nor did he add them in a proofreading of FE (cf. bars 47-49). category imprint: Differences between sources issues: Inaccuracies in FE , Inaccurate slurs in A |
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b. 2-4
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composition: Op. 10 No 9, Etude in F minor
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Neither in A nor in FE are the slurs in these bars precise. The slur of A gradually fades due to the ending ink, hence it is uncertain where it was supposed to end, according to Chopin. In FE (→GE1) the doubt concerns the transition to the new line between bars 2 and 3 – the slur in bar 2 suggests continuation (in accordance with A), which is, however, not confirmed by the new slur in bar 3. Although the slur in AI is legible, in this manuscript, the slurs generally seem to be written very randomly, without the intention of creating a coherent, complete image of phrasing or articulation (convergence with the 2nd slur of FE is most probably coincidental). According to us, there is no reason to think that the slurring here could differ from analogous indications in bars 10-12, embraced with one slur both in A and in the editions. Cf. bar 47. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , Inaccurate slurs in A , GE revisions , Authentic corrections of FE |
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b. 2-3
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composition: Op. 10 No 8, Etude in F major
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In the main text we give the fingering of the L.H. written by Chopin in A. Only some of these digits were correctly reproduced in FE (→GE,EE). The editors assume that the most probable reason for this state of affairs is rather the engraver's negligence than Chopin's proofreading. category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 2-32
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composition: Op. 28 No. 1, Prelude in C major
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In b. 2-17, 22 and 28-32, in which the R.H. figure begins from the rest and is encompassed with one slur, the starting point of those slurs in A is unclear. The vast majority of the slurs begin over or even before the initial rest (b. 4, 10, 13-15), hence only the slurs in b. 5 and 17 seem to concern the notes only. The notation does not indicate an intention to differentiate between the range of those slurs (the differences are accidental inaccuracies); therefore, we consider that all of them encompass an entire bar. This is the version we give in the main text. On the other hand, Chopin would often write slurs with a flourish; consequently, we cannot rule out that it was also here that he wanted the slurs to encompass the 5-semiquaver figures only. This is how it was reproduced by Fontana in his copy, which was then repeated in GE. In turn, the notation of FE poses an analogous interpretative issue to the one in A – admittedly, the majority of the slurs begin over the rest (the ones in b. 28-32 even before), but the general picture is unclear, since the endings of those slurs also go far beyond the last semiquaver, which, of course, does not mean that they are supposed to reach further. In EE, based on FE, the slurs encompass the semiquavers only. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Inaccurate slurs in A , EE inaccuracies , Inaccuracies in FC |
mark in bar 14 must be considered as misplaced, in the main text. As an alternative, we give a homogeneous pedalling in bars 2, 6 and analog., in which 
