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b. 11

composition: Op. 10 No 4, Etude in C♯ minor

..

We add a cautionary  before b2. The sign was already introduced in GE2 (→GE3→GE4→GE5) and EE4.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 11

composition: Op. 10 No 4, Etude in C♯ minor

No signs in AI & FE (→GE1,EE2)

Three arpeggio signs in GE1a (→GE2→GE3→GE4→GE5) & EE4

Arpeggio sign in EE3
..

According to us, arpeggio performance of the tenth chords stands beyond any doubt – it is proved by Chopin sign in bar 3, left almost certainly as a general indication concerning all analogous situations.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 11

composition: Op. 10 No 4, Etude in C♯ minor

No slurs in FE (→GE,EE2)

Slurs in EE3 (→EE4)
..

We complete the slurs after bar 3. The slurs were added also in EE3 (→EE4).

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 11

composition: Op. 10 No 4, Etude in C♯ minor

No mark in AI & FE (→EE2,GE1→GE1a→GE2→GE3)

Long accent in EE3 (→EE4)

Short accent in GE4 (→GE5)

Long accent suggested by the editors
..

We suggest to add an accent after the sign in analogous bar 61. In similar contexts, the crotchets at the end of bar are always accentuated – cf. bars 16, 18, 20, 22 and 25-26. The addition – probably on the same basis – was introduced already in EE3 (→EE4) and GE4 (→GE5).

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 11

composition: Op. 10 No 4, Etude in C♯ minor

in AI

No marking in FE (→GE,EE)
..

 in AI – together with in bar 12 – is certainly an element of the original concept of dynamic indications of the Etude.

category imprint: Differences between sources