mUltimate Chopin

Op. 10 No 12, Etude in C minor

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Articulation, Accents, Hairpins

b. 9-13

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

  in A

FE (→EE)

GE
..

We give the pairs of hairpins, appearing under similar figures in the L.H. in these bars and their repetitions in the entire Etude, in a unified version for each of the sources, in spite of the fact that the marks differ in their range. Same as in the case of slurs, the regularity of the texture and numerous repetitions of similar figures contribute to the decision not to consider these minor divergences in transcriptions.

category imprint: Interpretations within context; Differences between sources

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

b. 12

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

No sign in A

 in FE (→GE,EE) 
..

The  mark was added by Chopin at the time of proofreading FE (→GE,EE).

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 14

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

No signs in A (→FE→GE,EE)

  suggested by the editors
..

In the main text we give pairs of   hairpins following similar figures in bar 10 and analog., as well as identical figures in bar 64. In A both bars 14 and 54, in which there are also no dynamic marks in the L.H., fall at the beginning of the line and before a pair of bars of different figuration contour and accent layout in the R.H., which could have distracted Chopin.

category imprint: Editorial revisions

b. 15

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

Wedge in A (→FE→EE)

No mark in GE
..

Lack of the wedge in GE is most probably the engraver's oversight, as the mark is both in A and FE (→EE). However, it is possible that the mark was initially overlooked in FE and Chopin added it at the time of proofreading (in FE the remaining wedges of A were either omitted or reproduced as dots). Cf. the adjacent remark.

category imprint: Differences between sources

issues: Errors in GE

b. 15-16

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

Accents in A, interpretation

FE (→GE)

EE
..

It is uncertain whether Chopin wanted to contrast the type of accents in the R.H. in these bars. The marks in A are of similar size, yet they differ in their position, which, according to us, indicates their otherness. Therefore, we interpret the accents on the 4th beat in each of the bars as long ones. In FE the difference in the length of the marks seems to be irrelevant and accidental; this is how it was interpreted in GE. In turn, in EE the difference was increased, so the accents on the 2nd beat in the bars are clearly longer.

category imprint: Graphic ambiguousness; Interpretations within context

issues: Long accents