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Op. 10 No 1, Etude in C major

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b. 42-48

composition: Op. 10 No 1, Etude in C major

No indications in CLI

in FE

in GE

in EE2

in EE3 (→EE4)
..

We give Chopin's dynamic indications in bars 42 and 48 in the main text on the basis of FE. In the remaining editions they were recreated in a slightly changed form (except for EE2, in which cresc. in bar 42 was omitted).

category imprint: Differences between sources

issues: GE revisions , EE inaccuracies

b. 43

composition: Op. 10 No 1, Etude in C major

..

The stem of the 2nd minim in the L.H. in FE reaches only the upper note, G, which results in the fact that the lower one, G1, seems as if it was a semibreve. In GE and EE the error was corrected.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , GE revisions

b. 44

composition: Op. 10 No 1, Etude in C major

e3 in CLI, GE3 (→GE4→GE5) & EE as well as FED, FEJ & FES

d3 in FE (→GE1→GE2)
..

FE (→GE1→GE2) has d3 as the last semiquaver. The mistake is revealed by corrections in all three pupils' copies. The note was changed to e3 also in EE and subsequent GE,s.  

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FED , GE revisions , Annotations in FES , Annotations in FEJ

b. 44

composition: Op. 10 No 1, Etude in C major

b1-g1 in CLI, FE2 (→EE) & GE

c2-b1 in FE1
..

The version of FE1 is certainly erroneous, which is proved by the compliance of CLI and FE2, probably corrected by Chopin. GE and EE also have a correct text, which in the case of GE is probably a result of revision on the basis of analogy with the previous bars.

category imprint: Differences between sources

issues: Errors in FE

b. 45

composition: Op. 10 No 1, Etude in C major

No marking in CLI

 in FE (→GE,EE)

Our suggestion
..

The  indication falls on the 2nd beat of the bar in the sources. It seems highly unlikely that Chopin wanted to indicate exactly this place as the moment of reaching the forte dynamics, therefore, in the main text we propose to put the sign at the beginning of the bar. Chopin probably used here an earlier notation rule, according to which the signs were not placed at the beginning of the area covered by them, but somewhere in the middle. This type of notation can sometimes be encountered in his works. Cf. e.g. the notation of A in Etude in G, Op. 10 No. 5, bar 83.

category imprint: Interpretations within context; Differences between sources

issues: Centrally placed marks