mUltimate Chopin

Op. 10 No 2, Etude in A minor

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Articulation, Accents, Hairpins

b. 44

composition: Op. 10 No 2, Etude in A minor

No mark in CLI FEcor & EE2

Accent in Ap, FE (→GE) & EE3 (→EE4) 
..

The accent was added by Chopin in a later proofreading of FE.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 45-46

composition: Op. 10 No 2, Etude in A minor

No marks in CLI & FE (→GE,EE) 

Long accents in Ap
..

The dynamic markings visible in Ap at the end of these bars should be unequivocally interpreted as long accents, taking into account the context of the one-and-a-half-bar long crescendo.

category imprint: Differences between sources

issues: Long accents

b. 45-46

composition: Op. 10 No 2, Etude in A minor

Long accents in Ap & FEcor

Short accents in FE (→GE,EE) 
..

According to us, both accents in Ap should be interpreted as long ones, which is confirmed by undoubtedly long accents written by Chopin in FEcor. In FE (→GE,EE) they were rendered as common short accents.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in FE

b. 45-46

composition: Op. 10 No 2, Etude in A minor

No marks in CLI & FE (→GE,EE) 

Slur & dot in #Ao
..

In FEcor Chopin very carefully marked the staccato articulation in the part of the L.H., cf., e.g., the remarks concerning bars 1-7 or 9-17. Therefore, we assume that the lack of dots at the beginning of these bars corresponds to his intention (see bar 45). The marks in Ap are one of numerous detailed performance markings intended – as it seems – only for the use of the addressee of this autograph.  

category imprint: Differences between sources

issues: Chopin's hesitations

b. 47-48

composition: Op. 10 No 2, Etude in A minor

 & dim. in Ap

 & dim. in FEcor (interpretation)

dim. in FE (→GE,EE) 

Our variant suggestion
..

The line written by Chopin in FEcor was probably supposed to designate . It is indicated by the use of exactly this mark in Ap, whose performance markings in the last section of the Etude show a significant concordance with FEcor. However, it is unclear whether Chopin did not finish the mark, as he wanted to waive it, or whether it is a result of distraction (and, e.g., a temporary lack of ink). Therefore, in the main text we suggest a variant solution. The editions do not give this mark. The version of Ap is compatible with the markings of the published version, as far as the substance is concerned (apart from a possibly intentional omission of the  mark in bar 45 in FE). 

category imprint: Graphic ambiguousness; Differences between sources

issues: Authentic corrections of FE