mUltimate Chopin

Op. 10 No 8, Etude in F major

Text Compare Notes Sources Description

Issues : Errors of A

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. 34-36

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

Slur in bar 34 without continuation in A (→FE→GE1), literal reading

No slurs in bars 35-36 in EE3 & GE2 (→GE3→GE4)

No slur in bar 35 in EE4

Suggested contextual interpretation of A

Suggested contextual interpretation of FE (→GE1)
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The end of the slur of A (→FE→GE1) in bar 34 (the last in the text's line) suggests continuation in the next bar, yet in bar 35 the slur was omitted in A (→FE→GE,EE). In subsequent GE,s the slur in bar 34 was shortened. According to us, lack of slurs in bars 35-36 is a result of Chopin's inattention at the time of writing A (he also omitted accents there), hence we suggest to complete the slurs. Due to the ambiguity concerning the range and possible divisions of the slurs, we give two suggestions.
In EE4 a slur was added in bar 36, which was certainly performed by the reviser. 

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccurate slurs in A , Errors of A

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. 44

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

..

In A there is no  raising f to f in the 7th semiquaver in the bar. This patent oversight was corrected in FE (→GE,EE).

category imprint: Interpretations within context; Differences between sources

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

b. 58

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

..

The  returning b1, which was omitted in A, was added in a proofreading of FE1 (→FE2,GE,EE).

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , Errors of A , Authentic corrections of FE