mUltimate Chopin

Op. 10 No 8, Etude in F major

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Issues : GE revisions

b. 33-34

composition: Op. 10 No 8, Etude in F major

No pedalling in A

Pedalling in FE (→EE)

GE1

GE2 (→GE3→GE4)
..

In the main text we give the pedalling which Chopin added while proofreading FE (→EE). In GE1 the  mark was omitted, which was added in subsequent GE,s, most probably on the basis of the authentic pedalling in bars 19-20. Lack of the mark in GE1 may be a simple oversight of the edition's engraver or be an echo of the error of the proof copy of FE, corrected in the last phase of proofreading.

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of FE

b. 38-40

composition: Op. 10 No 8, Etude in F major

..

We add a cautionary  before b3 in bar 38 and naturals before e1 in the middle of bar 39 and a at the beginning of bar 40. The 1st of them was already added in GE, the 2nd – in GE3 (→GE4).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 41-42

composition: Op. 10 No 8, Etude in F major

..

In both bars in A (→FE), there are no accidentals before the last note of the 2nd group of semiquavers. These patent oversights were completed in GE and EE. The sharps are also written in pencil in FES.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , GE revisions , Omission of current key accidentals , Annotations in FES , Inaccuracies in A

b. 41

composition: Op. 10 No 8, Etude in F major

in A (→FE→EE)

in GE
..

In GE, same as in the entire Op. 10, the dim. abbreviation was replaced with dimin., which Chopin used much less frequently.

category imprint: Differences between sources

issues: GE revisions

b. 43

composition: Op. 10 No 8, Etude in F major

 f on 2nd beat in A (→FE→EE)

f & f in GE

f twice in FES

Interpretation of A (→FE→EE) suggested by the editors
..

In A (→FE→EE) the  raising f to f is placed only in the 2nd group of semiquavers. The tonality of D major, consolidated in the previous bars, does not leave any doubt that lack of  before the 2nd note in the bar is another sign Chopin overlooked, due to obviousness of the situation. Writing a  before the 6th semiquaver was probably related to the impression of harmonic change – from the 2nd group in bar 43 to the 1st group in bar 44, the key of F minor transitionally prevails. The sign in the 2nd group confused the reviser of GE, who, believing that it was f that was supposed to be in the 1st group, added a cautionary  before the 2nd semiquaver. Chopin would often place an accidental too late, e.g., in bar 42, as well as in other pieces, e.g., Etude in A, No. 10, bar 37, Sonata in B minor, Op. 35, 4th mov., bar 51, the Mazurka in A minor, Dbop. 42B, bar 61, the Concerto in F minor, Op. 21, 1st mov., bar 100, 2nd mov., bar 75.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , GE revisions , Omission of current key accidentals , Errors of A , Annotations in FES