mUltimate Chopin

Op. 10 No 2, Etude in A minor

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Pitch
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Pitch

b. 9-13

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

..

The naturals returning a1, d2 and f2 in bars 9 and 13 are inaccurately written in some of the sources. In CLI they are totally absent, although in bar 13 the sign returning d2 is before the last semiquaver in the lower voice. In FEcor Chopin added them only in bar 9, yet, eventually, he also added the  returning f2 in bar 13 in FE (→EE2). In GE1 only the sign returning d2 in bar 13 is missing. The remaining sources have the correct notation.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Omissions to cancel alteration , GE revisions , Errors of CLI

b. 9

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

..

FE (→GE,EE) has cautionary naturals before the last semiquaver in bars 9 and 13. Despite being undeniably authentic, the signs are, according to us, unnecessary in such a regular figuration.

category imprint: Differences between sources; Editorial revisions

issues: Cautionary accidentals

b. 9-13

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

..

The cautionary naturals before c1 in the L.H. were added in bars 9 and 13 in one of the last proofreadings of FE (→GE). They are also included in EE, except for the  overlooked in bar 13 in EE2. The manuscripts do not include any signs in these places. 

category imprint: Differences between sources

issues: Cautionary accidentals , EE inaccuracies , Authentic corrections of FE

b. 10-14

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

Octave & A in CLI

A twice in Ap

Octaves in FE (→GE,EE) 
..

Lack of the lower octave at the beginning of bar 10 in Ap may point to Chopin's hesitation, as the octave is both in CLI and FE (→GE,EE). The situation in bar 14, in which A1 was added by Chopin only in FEcor (→FE→GE,EE), suggests, however, that the bass note in the original Chopin's idea was supposed to be only A, while the lower octaves were added by Chopin only at the stage of reviewing the entire piece. Overseeing one or two places during this kind of serial corrections would often happen to Chopin (cf., e.g., the Etude in G major, No. 5, bar 4 and analog.). In the entire #Pa Chopin would therefore have left this detail in the original version.

category imprint: Differences between sources

issues: Authentic corrections of FE , Abbreviated octaves' notation

b. 10-14

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

Triad & third/fifth in CLI

Triads in Ap & FE (→GE,EE)
..

The third on the 3rd beat in bar 10 in CLI was probably meant to be a fifth in the original version (Terzverschreibung). In the sources Chopin's hesitation concerning the placement of the cautionary  before c1 is also reflected.

category imprint: Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations

issues: EE revisions , GE revisions , Accompaniment changes , Authentic corrections of FE , Errors of CLI