mUltimate Chopin

Op. 10 No 12, Etude in C minor

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b. 1

composition: Op. 10 No 12, Etude in C minor

in A

in FE (→GE,EE) 
..

The  indication in A is not legible enough and it could have been misunderstood by the engraver. In spite of this, in the main text we give  included in FE (→GE,EE), as the performance indications in FE were undoubtedly controlled by Chopin and even if he did not correct this indication, he certainly had an opportunity to accept it.

category imprint: Differences between sources

issues: Inaccuracies in FE , Authentic corrections of FE , fz – f

b. 1-6

composition: Op. 10 No 12, Etude in C minor

Possible long accents in A

Possible short accents in A (→FE→GE,EE)
..

Determining which type of accents Chopin had in mind at the time of writing A is not an easy task. The marks have different length, yet it is rather a result of a hasty notation than the will to differentiate them. According to us, this fact supports the decision to consider them as short accents, being the most natural solution in this context. This is how they were reproduced in FE (→GE,EE). Due to the described doubts, we also give long accents as a possible interpretation of A.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents

b. 1-6

composition: Op. 10 No 12, Etude in C minor

No fingering in A

Fingering in FE (→GE)

Fingering in EE
..

In the main text we give the fingering added by Chopin in a proofreading of FE (→GE). The fingering in the L.H. was added by Fontana in EE, who copied Chopin's fingering from analogous figures.

category imprint: Differences between sources

issues: EE revisions , Authentic corrections of FE

b. 2-4

composition: Op. 10 No 12, Etude in C minor

Possible short accents in A

Possible long accents in A

Short accents in FE (→GE,EE) 

Possible long accents in FE (→GE,EE) 
..

Lack of the accent in the middle of bar 4 is probably an inaccuracy of the notation of A – it seems highly unlikely that this bar was supposed to be less accentuated than bar 2. In the main text we suggest all accents added probably in a proofreading of FE (→GE,EE). The added accents do not differ from the adjacent ones, therefore, we accept both possibilities of their interpretation – cf. bars 1-6.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Authentic corrections of FE

b. 2-4

composition: Op. 10 No 12, Etude in C minor

Indications in A, literal reading

Indications in A, interpretation

FE (→GE,EE) 
..

The performance markings of A quite significantly differ from the ones included in FE (→GE,EE). Due to the fact that next to the omission of verbal indications in A the accents in the R.H. in bars 2 and 4 were added, we consider the printed version as proofread by Chopin and we adopt it in the main text. The  mark in bar 4 is, according to us, written in compliance with a sometimes applied by Chopin convention, according to which the indications are not arranged at the beginning of the area they consider, e.g., a motif, yet closer to its middle.

category imprint: Differences between sources

issues: Centrally placed marks