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b. 27
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composition: Op. 10 No 2, Etude in A minor
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The sources prove Chopin's hesitation concerning the notation of the 3rd semiquaver on the 2nd and 3rd beats of the bar. It is best seen in Ap, in which the clear traces of corrections are visible in the 2nd group of the notes, and possible ones – in the 3rd one. In the case of the first of the corrections, a category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Errors in FE , Enharmonic corrections , Authentic corrections of FE |
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b. 27-28
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composition: Op. 10 No 2, Etude in A minor
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The range of cresc., despite having been written by Chopin in FEcor, is questionable. According to us, it goes further, until bar 29, in which there is a category imprint: Interpretations within context; Differences between sources |
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b. 27-28
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composition: Op. 10 No 2, Etude in A minor
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It is not clear whether the accents in Ap are supposed to concern both hands or only the octaves in the L.H. We also conserve the significant difference in the accents' length, although its meaning is unclear. The signs – also those on the 4th beat of the bar – are not included in FE (→GE,EE), in which Chopin decided to mark a broader dynamic change. category imprint: Differences between sources issues: Long accents |
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b. 27-28
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composition: Op. 10 No 2, Etude in A minor
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In CLI the last beat of bar 27 and the 1st half of bar 28 are written in the part of the R.H. with the use of an octave sign, which, however, stops at the end of bar 27. The mechanical error of the copyist leaves no place for doubts, as there is no loco indication, with which the return to the written pitch was indicated back then. The musical context also unanimously indicates the place where the octave sign was supposed to end. category imprint: Interpretations within context; Differences between sources issues: Errors of CLI |
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b. 28
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composition: Op. 10 No 2, Etude in A minor
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We do not consider the slur of Ap in the main text, as well as the remaining indications of this manuscript in this and the previous bar. category imprint: Differences between sources |
2, most probably, was changed to g
2, however, in the photograph available to the editors of mUltimate Chopin, one cannot certainly determine the direction of the changes. The result of the possible second correction is obvious – g
mark, determining the local climax. What is characteristic is the fact that in 
