mUltimate Chopin

Op. 10 No 2, Etude in A minor

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 19-23

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

 in Ap

poco a poco cresc. in FE (→GE,EE) 
..

It is unclear whether poco a poco cresc. given in the main text twice – after FE (→GE,EE) – is supposed to be understood as two waves of a dynamic build-up or only one. The repetition of the indication may have just resulted from the fact that in FE a new page begins in bar 21 (cf. the remark concerning bars 19-21). However, the dynamic markings of Ap – particularly the repeated  in bar 21 – advocate for two waves.
In this place, as an alternative to the indications of the printed version, we give only these indications of Ap, which are totally incompatible with them. The remaining ones are discussed in the remarks concerning bars 19-23, 20-22 and 21.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 20

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

e1-b1 in CLI & Ap

b1 & 2 in FEcor

b1 in FE (→GE,EE)
..

The version of CLI and Ap is certainly earlier. Chopin must have deleted e1 already in the base text for FE. The fact that it cannot be a mistake is proved by the fingering digit (2) written under b1 in FEcor (overlooked in finished FE and the remaining editions). Cf. bars 22 and 24. 

category imprint: Differences between sources

issues: Accompaniment changes , Authentic corrections of FE

b. 20-22

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

Quaver & crotchet in CLI

Two crotchets in Ap

Two quavers in FE (→GE,EE) 
..

In Ap the last chords in the R.H. in bars 20 and 22 are crotchets, which creates a kind of rhythmic and articulation accent. The similarity with the original rhythmic value of the chord in bar 22 is coincidental, as in the original version there are no differing values in the bar. In the version for publication Chopin significantly reduced the number of this kind of differences in the part of the L.H. (not to mention the lower voice of the R.H.).

category imprint: Differences between sources

issues: Accompaniment changes , Authentic corrections of FE

b. 21-22

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

..

In CLI there are no essential accidentals in the part of the R.H., some of them were also omitted in the base text for FE. In subsequent proofings of FE Chopin, however, added all of them, so final FE (→EE) does not include any errors in this scope. Ap also has a totally correct notation. Lack of the  returning g2 at the end of bar 21 in GE1 probably means that Chopin added it only in the last proofreading of FE. The sign was added in GE2 (→GE3) together with few others, reminding; the majority of the latter were then removed in GE4 (→GE5), while one was added in EE4. We discuss the 2nd half of bar 22 in a separate entry due to the enharmonic difference in the notation of the 10th semiquaver.  

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Cautionary accidentals , Authentic corrections of FE

b. 23

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

Three-note chord in CLI & Ap

Four-note chord in FE (→GE,EE)
..  

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE