mUltimate Chopin

Op. 10 No 2, Etude in A minor

Text Compare Notes Sources Description

Issues : GE revisions

b. 32

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

Accents in Ap, literal reading

Accents in Ap, probable interpretation

Accents in Ap, possible interpretation

 in FEcor

 in FE (→GE)

 in EE
..

Three accents written in Ap in bar 32 are undoubtedly short, if considering their shape. However, their position gives raise to doubts – the signs certainly do not exclusively refer to the upper voice, therefore, they fall on the 2nd, 3rd and 4th beat of the bar, where they probably concern the entire chords. However, if they concern the chords, such a position suggests their extended function, which corresponds to the definition of long accents (cf. bars 45-46). In the main text we give one  written by Chopin – as in two following bars – in FEcor. In finished FE (→GE) and EE the sign was reproduced inaccurately. 

category imprint: Differences between sources

issues: Long accents , Inaccuracies in FE , GE revisions , EE inaccuracies , Authentic corrections of FE

b. 33-34

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

No signs in CLI & EE2

 in Ap

 in FEcor

 in FE

 in GE1 (→GE2)

 in GE3 (→GE4→GE5)

 in EE3 (→EE4)
..

The sources differ in the range of  entries. Chopin's entries in Ap and FEcor do not show significant differences, in the main text we give the version of FEcor. In finished FE the hairpins in bar 33 were shortened, the version was reproduced in EE with insignificant displacements (except for EE2, where both signs were omitted). It is GE that displays the greatest differences in comparison with the base text: the hairpins in bar 33 actually correspond to authentic signs, yet the sign in bar 34 in GE1 (→GE2) was arbitrarily prolonged, which distorted its meaning, whereas in GE3 and subsequent ones – it was totally omitted.

category imprint: Differences between sources

issues: Inaccuracies in FE , Errors in EE , Errors in GE , GE revisions

b. 37

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

Triad & fifth in CLI

Triads in Ap & FEcor

Triads in FE (→EE2→EE3)

Triads in GE & #Wa4
..

The fifth on the 3rd beat of the bar in CLI is probably the original version. In the sources Chopin's hesitation is also reflected, as far as the position of the cautionary  before c1 is concerned. In the main text we adopt – following FE (→EE2→EE3) – the sign before the chord on the 3rd beat of the bar.

category imprint: Differences between sources; Corrections & alterations

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

b. 39

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

b not tied in CLI, Ap & FE (→EE2→EE3)

b tied in GE & EE4
..

The ties sustaining b are probably (GE) or certainly (EE4) an addition of the revisers of these editions. In the main text we adopt the unequivocally authentic version of CLI, Ap and FE (→EE2→EE3).

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 39

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

No mark in #Ao & FE (→EE,GE1→GE1a→GE2→GE3)

Dot in GE4 (→GE5)
..

We add a staccato dot in keeping with marks written by Chopin into FEcor in the analogous bars 4 and 12. As Chopin added dots in neighbouring bars, his inadvertent omission of the mark rises no doubts here. The dot was added already in GE4 (→GE5).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions