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b. 14-15
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composition: Op. 10 No 12, Etude in C minor
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The d2-g2-d3 chord written at the beginning of bar 15 in A is probably the original version of this place. The version of FE (→EE) was most probably introduced by Chopin at the time of proofreading FE. Lack of the tie sustaining a2 in GE may mean that the element was added only in the last proofreading. While proofreading FE, Chopin also took care of returning a category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 15-16
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composition: Op. 10 No 12, Etude in C minor
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In the main text we give the fingering added by Chopin in a proofreading of FE (→GE), completed with Chopin's fingering of identical figures in the further section of the Etude, in this case in bar 55 (cf. General Editorial Principles, p. 17). In EE Fontana developed the fingering of FE, adding the hints in the descending section of the passage and repeating the fingering in subsequent similar figures. category imprint: Differences between sources; Editorial revisions issues: EE revisions , Authentic corrections of FE |
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b. 15
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composition: Op. 10 No 12, Etude in C minor
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Lack of the wedge in GE is most probably the engraver's oversight, as the mark is both in A and FE (→EE). However, it is possible that the mark was initially overlooked in FE and Chopin added it at the time of proofreading (in FE the remaining wedges of A were either omitted or reproduced as dots). Cf. the adjacent remark. category imprint: Differences between sources issues: Errors in GE |
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b. 15
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composition: Op. 10 No 12, Etude in C minor
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Chopin most probably added the indication con forza in the last proofreading of FE (→EE), as it is neither in A nor in GE. The proofreading in bars 14-15 included a few elements – the slur and possibly also the wedge. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 15-16
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composition: Op. 10 No 12, Etude in C minor
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It is uncertain whether Chopin wanted to contrast the type of accents in the R.H. in these bars. The marks in A are of similar size, yet they differ in their position, which, according to us, indicates their otherness. Therefore, we interpret the accents on the 4th beat in each of the bars as long ones. In FE the difference in the length of the marks seems to be irrelevant and accidental; this is how it was interpreted in GE. In turn, in EE the difference was increased, so the accents on the 2nd beat in the bars are clearly longer. category imprint: Graphic ambiguousness; Interpretations within context issues: Long accents |
2 in the chord on the 4th beat in the bar. In the main text we add a 
