mUltimate Chopin

Text Compare Notes Sources Description

Issues : Inaccuracies in FE

b. 8

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

Long accent in Ap & FEcor

 &  in FE (→GE,EE) 
..

In the main text, according to the entries written by Chopin himself in FEcor and Ap, we give the long accent mark over the 2nd crotchet in the L.H. In FE (→GE,EE) it was given a form of a  hairpin on the 1st beat of the bar, which totally changed its meaning. In the next proofreading Chopin brought back the stress on the E-e octave by adding  this time. According to us, it was an ad hoc intervention, forced with an erroneous interpretation of the intended by Chopin accent's mark, which is more compatible with the whole of dynamic markings of the Etude (a comparison of Ap with the final version shows that while preparing the Etude for printing, Chopin made a careful selection of the marks; he would often discard  marks, among others; cf., e.g., bar 4).  

category imprint: Differences between sources

issues: Long accents , Inaccuracies in FE

b. 8

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

 signs in A

 sign in FE (→EE)

No signs in GE
 
..

A includes two  marks, out of which only the 1st one was reproduced in FE (→EE). In GE there is however not a single one of them, which can indicate that even the one included in FE could have been initially overlooked and reintroduced by Chopin only during the last proofreading. In the main text we give both marks written in A, yet leaving the consideration of the second one, present only in the manuscript, at the performer's discretion.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , Authentic corrections of FE

b. 8-9

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

..

In the main text we adopt the quaver tie system applied by Chopin in A. In FE (→GE,EE) the ties in the L.H. may have been changed due to graphic difficulties, embracing three last quavers in bar 8 with one tie and providing the 1st quaver in bar 9 with a stem. In GE3 a similar tie system was applied in bar 8 also in the case of the R.H. 

category imprint: Source & stylistic information

issues: Inaccuracies in FE , GE revisions

b. 8

composition: Op. 10 No 6, Etude in E♭ minor

cresc. in A

FE (→GE,EE)
..

In the main text we put cresc. over the part of the R.H., in accordance with A. In the editions it was placed between the staves, which in this case makes no big difference, as the part of the L.H. is also to be performed crescendo. 

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in FE

b. 8

composition: Op. 10 No 6, Etude in E♭ minor

 in A

Two signs in FE (→EE)

 in GE
..

The additional  sign, placed in FE (→EE) between the staves, seems to be added during a proofreading, thus correct. The hairpins could refer to the R.H., which would cause problems (crescendo on a long note), or to the left one, where they would double the sign placed under the semiquavers. Due to this fact, we think that the most likely explanation is the following: the sign put in A under the semiquavers in the L.H. was erroneously reproduced in FE over them. In the last proofreading of FE (not included in GE) Chopin added the second  under the L.H., confirming his intention of providing the progression of semiquavers with this sign. Therefore, in the main text we give only the hairpins of A. 

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in FE , Authentic corrections of FE