mUltimate Chopin

Op. 10 No 2, Etude in A minor

Text Compare Notes Sources Description

Issues : Chopin's hesitations

b. 1-8

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

Semiquavers in CLI & FE (→GE,EE) 

Crotchets in Ap
..

The crotchets in bars 1-2 and 5-8 constitute a significant change of the concept in Ap in the scope of the Etude's technical problems and its sound image (cf. the characteristic of Ap). As the version does not appear in any of the sources related to the publication of the piece – neither in CLI nor in FE (→GE,EE) – it seems that the prolonged articulation of the accompanying two-note chords appeared only as a transitional phase in the shaping process of the Etude's text or – which, according to us, is more plausible – as a one-time exclusive idea. See also the remark concerning bars 3-4.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Accompaniment changes

b. 2-4

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

..

In FEcor Chopin added staccato dots also under the semiquavers of the lower voice in the R.H. (in bar 4 only under the first one). In a later proofreading he changed his mind, so that in FE (→GE→EE) the dots are eventually absent. The staccato signs are also absent in Ap, in which they would be, however, contrary to the longer rhythmic values of the described two-note chords. 

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

issues: Chopin's hesitations , Authentic corrections of FE

b. 2-6

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

Octaves in CLI & FE (→GE,EE) 

Only A in Ap
..

Lack of the lower octave at the beginning of bars 2 and 6 in Ap suggests Chopin's hesitation concerning its presence – the octaves are both in CLI, representing the earliest stage of the Etude's notation and in FE (→GE,EE), which ends the shaping process of the piece's text. Similarly in bar 10, 14, 37 and 41.

category imprint: Differences between sources

issues: Chopin's hesitations

b. 3-4

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

Semiquavers in CLI & FE (→GE,EE) 

Semiquavers & crotchets in Ap
..

In Ap the rhythmic values of subsequent two-note chords of the lower voice in the R.H. create in those bars (as well as in subsequent repetitions) an alternating short-long scheme (semiquaver-crotchet). Sometimes the resounding length contrast is additionally underlined with accents. In the main text we give the homogenous, as far as the sound is concerned, version of FE (→GE,EE). 

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Accompaniment changes

b. 4

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

..

Here, as well as in bar 12, yet not in bar 39, Chopin deleted semiquaver flags for the d1-a1 tritone in the lower voice in FEcor, thus changing its rhythmic value for a crotchet. However, the correction was not included in FE (→GE,EE), despite the fact that the cancellation of those changes was not explicitly marked:

  • in bar 4, next to the clearly deleted flags, there is a semiquaver-like sign, which may possibly be interpreted as a signal to return the flags; 
  • in bar 12 the flags' deletion was left without a commentary, yet in the margin a remark was deleted – not entirely legible – which probably concerned deletion of those flags.

It can be observed that the initial and, as it turned out, the final concept of the homogenous part of the R.H. in terms of sound and pianistics was subject to internal verification by Chopin until the very end of the Etude's publication process. See bars 3-4. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Chopin's hesitations