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b. 1-4
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composition: Op. 10 No 10, Etude in A♭ major
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While proofreading FE (→GE,EE), Chopin clearly changed the accentuation scheme of these bars. The accents on every sixth quaver, together with a natural support on strong beats of the bar, determine triple beat corresponding to the time signature. Therefore, the removal of two out of three accents written in A eliminated the divergence between the double accentuation and triple beams (see also the note on slurs in bars 1-2). Moreover, the reduced accents – two instead of six in each bar – transform themselves from a generally technical hint into a part of the phrase's shaping. Chopin introduced analogous changes also in bars 17-20. Cf. bars 4 and 5-8. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 1
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composition: Op. 10 No 10, Etude in A♭ major
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A crotchet as the rhythmic value of the upbeat in A could have been related to the original accentuation of bars 1-4, determining the crotchet beat. Moreover, it cannot be excluded that Chopin had in mind a dotted crotchet – cf. minims in the L.H. in bars 1-3 and 5-6, as well as crotchets in bars 4 and 7). In each case a quaver flag in FE (→GE,EE) was probably added by Chopin, therefore we adopt the version with the quaver to the main text (in FE an uncorrected crotchet rest was left in the L.H., which was corrected in GE and EE). category imprint: Differences between sources issues: Errors in FE , Errors resulting from corrections , Authentic corrections of FE |
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b. 1-2
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composition: Op. 10 No 10, Etude in A♭ major
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It is unclear how to treat the short, two-quaver-long slurs visible in the sources. They do not raise any doubts in A, in which they are compatible with the accents over each sixth. However, after removal of the majority of accents in a proofreading of FE (→GE,EE), the slurs seem not to correspond to the new accentuation. The fact of leaving them could have been a compromise, whose aim was to avoid an additional, significant complication of a proofreading. On the other hand, it cannot be excluded that Chopin removed the accents in order not to change their layout, but to avoid exaggeration resulting from double indications. Therefore, having no absolute certainty of Chopin's intention, we suggest a version without slurs as a recommended alternative to the main text from A (→FE). category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 1
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composition: Op. 10 No 4, Etude in C♯ minor
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We give the time signature marking after AI, although theoretically, Chopin could have introduced category imprint: Interpretations within context; Differences between sources issues: Errors in FE , 4/4 or 2/2 |
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b. 1
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composition: Op. 10 No 4, Etude in C♯ minor
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Chopin did not write the title of the piece in AI, although it is hard to believe that in August 1832, at the stage of completing the entire Op. 10, he could have even considered naming it differently than Etude. The conviction is not hampered by the fact that at the end of the editorial autograph of the Etude in E major, No. 3, Chopin uses the determination of tempo-character il presto con fuoco for the identification of the subsequent etude in the collection. In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and the dedication (in EE) most probably come from the editors. See the Etude in C major, No. 1, bar 1. category imprint: Differences between sources issues: EE revisions , Errors in FE , Dedications , GE revisions |
in the lost [A]. According to us, it is, however, much more likely that it was an arbitrary change of the engraver of 
marking in the Etudes – contrary to the manuscripts – even once, cf. the Etudes in C major, No. 1, F major, No. 8 and C minor, No. 12. The phenomenon is also present in other pieces, even in the most obvious cases, e.g., in the Etudes in F minor, Op. 25 No. 2, D
major, Op. 25 No. 8 or F minor, Dbop. 36 No. 1. 
