mUltimate Chopin

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 2-6

composition: Op. 10 No 2, Etude in A minor

No  in CLI

Naturals in Ap & FE (→GE,EE) 
..

Lack of the  returning b2 on the penultimate semiquaver in bars 2 and 6 is most probably an inaccuracy of the notation of CLI. In bar 2 Chopin added the sign in FEcor, in bar 6 – probably already in the handwritten base text for FE.

category imprint: Differences between sources

issues: Omissions to cancel alteration , Authentic corrections of FE

b. 2-4

composition: Op. 10 No 12, Etude in C minor

Possible short accents in A

Possible long accents in A

Short accents in FE (→GE,EE) 

Possible long accents in FE (→GE,EE) 
..

Lack of the accent in the middle of bar 4 is probably an inaccuracy of the notation of A – it seems highly unlikely that this bar was supposed to be less accentuated than bar 2. In the main text we suggest all accents added probably in a proofreading of FE (→GE,EE). The added accents do not differ from the adjacent ones, therefore, we accept both possibilities of their interpretation – cf. bars 1-6.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Authentic corrections of FE

b. 2-4

composition: Op. 10 No 12, Etude in C minor

No marks in A

 signs in FE

Accent &  in GE & EE

Accents suggested by the editors.
..

The  marks, added by Chopin probably in a proofreading of FE (→GE,EE), are certainly meant to be long accents and this is how we give them in the main text. In bar 2 the length of marks in GE and EE corresponds quite well with the size of Chopin's long accents, although most probably by accident.

category imprint: Differences between sources

issues: Long accents , Authentic corrections of FE

b. 2-14

composition: Op. 10 No 5, Etude in G♭ major

Chords with g in A

No g in FE (→GE,EE)
..

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

b. 2-14

composition: Op. 10 No 5, Etude in G♭ major

No pedalling in A

Pedalling in FE (→GE1→GE1a)

GE2 (→GE3→GE4→GE5) & EE

Our suggestion

Our alternative suggestion
..

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  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  always falls in the middle of the bar (it requires to assume that  in bar 6 was written by mistake).

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