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b. 1
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composition: Op. 10 No 1, Etude in C major
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In the main text we give the title as adopted in FE and confirmed in the engraver's copy of several Etudes (No. 5-8 and 12). The title included in CLI, although earlier, is also authentic – Chopin himself described in this way one of his etudes in a letter to a friend – and reflects Chopin's pragmatic approach to the issue of the pieces' names (cf. the original title of Berceuse Op. 57, "Variants"). Therefore, it is hard to assume that the extended titles of GE and EE were something more than a marketing ploy of the publishers, which, after all, were gladly used also in case of other genres, e.g., in waltzes, in which the authentic titles were extended with different adjectives: 'grande' in Op. 18, 24, 42, 'brillante' in Op. 34, 'nouvelle' in Op. 42 (see also Etudes Op. 25). We also give this dedication in the version of FE (→GE). Its extension in EE seems to be rather an idea of the publisher who, however, could have agreed it with Chopin. Apart from FE1 (→EE2→EE3), the erroneous initial of Liszt's name (J) also appears in some copies of FE2 and GE1. category imprint: Differences between sources issues: EE revisions , Errors in FE , Dedications , GE revisions , Various titles |
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b. 1
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composition: Op. 10 No 1, Etude in C major
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We give the time signature's indication after CLI. Although FE (→GE,EE) has a category imprint: Differences between sources issues: Changes of metre , 4/4 or 2/2 |
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b. 1
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composition: Op. 10 No 1, Etude in C major
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In CLI there are no performance indications in the entire Etude. Both the indication of tempo and articulation was most probably added by Chopin in proofreadings of FE (→GE,EE) – cf. the beginning of the Etude in A minor, No. 2. category imprint: Differences between sources issues: Metronome tempos |
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b. 1
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composition: Op. 10 No 1, Etude in C major
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The category imprint: Interpretations within context; Differences between sources issues: Centrally placed marks |
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b. 1-11
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composition: Op. 10 No 1, Etude in C major
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The fingering in bars 1, 4 and 11, as the entire fingering given in the main text of the Etude based on FE (→GE,EE), certainly comes from Chopin. In EE Fontana completed it in bars 2 and 8-10 with the digits describing the fingering indicated by Chopin in a slightly more accurate manner. category imprint: Differences between sources issues: EE revisions |
, it is difficult to assume that the change of time signature was intentional, as in 
does not appear in any of the Etudes (contrary to the manuscripts), cf. the Etude in C
minor, No. 4, F major, No. 8 and C minor, No. 12. This phenomenon is also present in other pieces, even in the most obvious cases, e.g., in the Etudes in F minor, Op. 25 No. 2, D
major, Op. 25 No. 8 or F minor, Dbop. 36 No. 1.
in 
