mUltimate Chopin

Op. 10 No 8, Etude in F major

Text Compare Notes Sources Description

Issues : Omission of current key accidentals

b. 12

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

Chord in A

Rest in FE (→GE,EE)
..

The chord which opens the bar in A is written without the  before the topmost note, which is an obvious oversight. Chopin resigned from this chord, while proofreading FE (→GE,EE). The traces of its deletion – along with the arpeggio – are clearly visible in the subsequent copies of FE. Cf. bar 13.

category imprint: Differences between sources; Corrections & alterations

issues: Omission of current key accidentals , Errors of A , Authentic corrections of FE

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. 42

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

..

In A there is no  before the 1st semiquaver in the L.H., yet it is before the 6th note. However, there are no doubts that both notes are meant to be b. The error was corrected in a proofreading of FE, by moving the  at the beginning of the bar. Moreover, the  before the last semiquaver (f1) was omitted in A (→FE). GE and EE have a correct text in this bar. 

category imprint: Differences between sources

issues: Omission of current key accidentals , Authentic corrections of FE

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
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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

b. 43

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

..

A is missing the  before the penultimate semiquaver (b). Chopin noticed this patent inaccuracy while proofreading FE, yet initially the sign was erroneously inserted before the last note (d1), which was reproduced in GE1 (→GE2). In the last proofreading of FE (→EE), the  was moved to the right place, a relevant addition was also introduced in GE. In GE3 (→GE4), the superfluous sign before d1 was removed.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , GE revisions , Omission of current key accidentals , Authentic corrections of FE