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b. 2-10
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composition: Op. 10 No 12, Etude in C minor
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It is uncertain why FE (→GE,EE) does not include the expressive markings written in A in bars 2 and 10. Most probably it is a result of the engraver's inaccuracy (haste?), however, even if it was the case, Chopin did not feel the need to complete these indications at the time of proofreading FE, despite the fact that in bar 2 he added a mark in this place. Therefore, respecting the image of the Etude accepted by Chopin for publication, we do not give them in the main text. category imprint: Differences between sources |
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b. 2-14
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composition: Op. 10 No 11, Etude in E♭ major
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In bars 2-3, 5-6, 10-11 and 13-14 in the main text, we give undeniable wedges written in A (in comparison, Chopin's dots may be seen over the bass notes in bars 1, 5 and analog.). In FE a part of the marks was omitted (in bars 3, 10 and 11) and the rest was interpreted as dots. The changes, according to us, are of a clearly arbitrary nature. GE and EE generally repeat the version of FE, yet they include a dot also in bar 3. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , GE revisions , Wedges |
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b. 2
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composition: Op. 10 No 11, Etude in E♭ major
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In FED there is an added category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Cautionary accidentals |
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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 lower notes of the chords on the 2nd and 3rd quavers in bars 2, 6, 10 and 14 were removed by Chopin in a proofreading of FE (→GE,EE). It was probably related to the change of the dynamic concept of these bars. Similarly in bars 50 and 54. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of 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 |
before a
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