mUltimate Chopin

Op. 10 No 12, Etude in C minor

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 51-64

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

  in A

FE (→EE)

GE
..

We give the pairs of hairpins appearing in bars 51-53 and 59-64 under similar figures in the L.H. in a unified version for each of the sources (applies also to bar 62, discussed separately).

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins

b. 51-63

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

 &  in A

FE (→GE,EE) 

Our suggestion
..

In A the dynamic marks –  and particularly  – in bars 51-53, 60 and 62-63 are written only on the 4th beat of the bar, sometimes on  marks. According to us, it is an example of use of an earlier notation convention by Chopin – see bars 10-12. In FE (→GE,EE) only one of the indications was reproduced in accordance with A (bar 52), some of them were overlooked (in separately discussed bars 61-62) and the remaining ones were arranged in such way so they concern entire octave motifs pursuant to the currently binding notation rules. Cf. the remarks concerning  marks in bars 51-63.

category imprint: Interpretations within context; Differences between sources

issues: Authentic corrections of FE , Centrally placed marks

b. 51-63

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

 in A

FE (→GE,EE) 

Our suggestion
..

In A the motifs in the R.H. in the 2nd halves of bars 51-53 and 60-63 are provided with  hairpins of varied range. According to us, it should be related to the clearly less diligent notation of this page in A (cf., e.g., the remark on accidentals). In similar situations in the first section of the Etude (bars 10-13 and 20-23) the hairpins always (eight times) embrace entire motifs. This is how the marks were generally reproduced in the editions, except for bar 52 (the mark starts later, in accordance with A) and separately discussed bars 53 (reversed mark) and 62 (omission). In the main text we suggest a unified version of the hairpins, compatible with the natural, and in this case rather obvious, musical sense.  

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins

b. 51-68

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

..

In bars 51-56 and 59-68 we give the slurring in the L.H. in the standardised version, despite the fact that some of the slurs are written slightly inaccurately.

category imprint: Interpretations within context

issues: Inaccurate slurs in A

b. 52-65

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

..

The 4th page of A (bars 50-65) is less carefully written; in fact only two octaves in the R.H. (also among these being a part of the chords), requiring cautionary accidentals, are correctly written (the octave in bar 50 and the chord at the beginning of bar 55). The remaining 13 either do not have any accidentals (bars 55 and 65, discussed separately) or they have an accidental only next to one of the notes. In the editions all these patent oversights were completed.

category imprint: Interpretations within context; Differences between sources

issues: Errors of A , Authentic corrections of FE