mUltimate Chopin

Text Compare Notes Sources Description

Issues : Errors in FE

0
b. 4-5

composition: Op. 45, Prelude in C♯ minor

 in FE

GE & EE
..

The placement of the  mark in FE1 literally means that the pedal should be depressed on the last beat of bar 4, which for harmonic reasons could not be intended by Chopin. Such notation probably results from misunderstanding the autograph, in which the mark might have been placed that way due to lack of space under the very low note (C1) in bar 5. The notation of FE2, in which bar 4 ends a line of text, is definitely erroneous. EE and GE have the  placed correctly in bar 5.

category imprint: Differences between sources

issues: Errors in FE

b. 4

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

No fingering in Ap

Fingering in FEcor

FE (→GE1→GE2, →EE) 

GE3

GE4

GE5
..

We give the alternative fingering on the basis of Chopin's entry in FEcor. In finished FE (→GE1→GE2,EE) those three digits were mistakenly put one semiquaver earlier. Repetition of the same error in EE is of particular surprise, as the fingering was revised and added by Fontana (cf. bar 12). Revisers of GE3, GE4 and GE5 tried to respectively simplify the fingering's notation and to make it more precise in this place; however, none of them realised the essence of the mistake.

category imprint: Differences between sources

issues: Errors in FE , Authentic corrections of FE

b. 4

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

Probable  in Ap

Possible long accent in Ap

 in FE (→GE,EE) 

Our alternate suggestion
..

The  mark in FE (→GE,EE) is one of a few that had already been printed in FEcor. Therefore, its compliance with Chopin's intention is not certain due to the possibility of reversing the direction of the sign as a result of the engraver's error (cf., e.g., the Etude in C minor, No. 12, bar 53). Such an error seems to be possible if we take into consideration the four-bar section which ends here and the recurring first phrase with its crescendo and a possible  in Ap.

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

issues: Long accents , Errors in FE , Sign reversal

b. 4

composition: Op. 10 No 11, Etude in E♭ major

No e in chord in A

Chord with e in FE (→GE,EE)
..

The origin of the additional e note present in the 1st chord in the bar in FE (→GE,EE) is unclear. Chopin could have added it at the time of proofreading FE, yet it seems more plausible that it was printed by mistake instead of g (Terzverschreibung) or B (the second possibility is indicated by the length of the arpeggio wave). Then the correct note was added, yet the erroneous one was not deleted, which is a characteristic error of engravers (the then printing technique made adding a note much easier than deleting it). Similar mistakes were often committed in other Chopin's works, e.g., in the Scherzo in B minor, Op. 20, bars 135 and 292, the Ballade in G minor, Op. 23, bar 171 and the Polonaise in A major, Op. 40 No. 1, bar 93. Cf. the remark concerning the Etude in G major, No. 5, bar 59.   

category imprint: Differences between sources

issues: Errors in FE , Errors resulting from corrections , Terzverschreibung error , Authentic corrections of FE

b. 4

composition: Op. 10 No 9, Etude in F minor

No marking in AI & FE (→GE,EE)

 in A

Our variant suggestion
..

Omission of  in FE (→GE,EE) is rather a result of the engraver's distraction than Chopin's proofreading. The composer, who in two other places in the Etude – in bar 48 and 56 – added  when proofreading FE, could have accepted the lack of this indication. Therefore, we suggest a variant solution. 

category imprint: Differences between sources

issues: Errors in FE