mUltimate Chopin

Op. 10 No 2, Etude in A minor

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b. 10-14

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

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CLI has the erroneous c3 as the 8th semiquaver in bars 10 and 14. In bar 10 c3 was initially printed also in FEcor, in which Chopin changed it to d3.

category imprint: Differences between sources

issues: Errors of CLI

b. 10-14

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

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In bars 10 and 14 in one of the last proofreadings of FE (→GE,EE) cautionary naturals before c2 in the last triad in the bar were added. According to us, signs in these places are unjustified.

category imprint: Differences between sources

issues: Cautionary accidentals , Authentic corrections of FE

b. 10-14

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

No  in CLI

Naturals in Ap & FE (→GE,EE) 
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Lack of the  returning b2 on the last semiquaver in bars 10 and 14 is most probably an inaccuracy of notation of CLI. Chopin possibly wrote both signs already in the handwritten base for FE.

category imprint: Interpretations within context; Differences between sources

issues: Errors of CLI

b. 11

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

No indications in CLI & Ap

in FE (→GE,EE) 
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In the main text we give sempre legato repetead here by Chopin in FEcor (→FE→GE,EE); probably due to the beginning of a new page in FE. Cf. bars 19-21.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 11-12

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

Semiquavers in CLI & FE (→GE,EE) 

Semiquavers & crotchets in Ap
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In Ap the rhythmic values of the subsequent two-note chords in the lower voice of the R.H. constitute an alternating short-long (semiquaver-crotchet) scheme in these bars. Moreover, the contrast of the resounding's length is underlined with accents here and there. In the main text we give the homogeneous version of FE (→GE,EE), as far as the sound is concerned.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Accompaniment changes