mUltimate Chopin

Op. 10 No 12, Etude in C minor

Text Compare Notes Sources Description

Issues : Inaccuracies in FE

b. 43-45

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

 in A

Two  in FE (→GE1→GE2, →EE)

One  in GE3 (→GE4)
..  

category imprint: Differences between sources

issues: Inaccuracies in FE , Errors in GE , GE revisions , Authentic corrections of FE

b. 45-46

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

Slurs in A

L.H. slur in FE (→GE)

Slurs in EE
..

In the main text we give the slurs in the parts of both hands, as Chopin wrote it in A; such slurs are included in EE. We consider the fact that in A the slur in the L.H. begins two notes later than the slur in the R.H. as the notation's inaccuracy. In FE (→GE) the range of the slur in the L.H. is correct, yet the slur in the R.H. was omitted.

category imprint: Differences between sources

issues: Inaccuracies in FE , Inaccurate slurs in A

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 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. 54-55

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

Tied a2 in A (→FE→GE1,EE)

Tied a2, modern notation

Slur in GE2 (→GE3→GE4)
..

The right ending of the tie sustaining a2 was arranged slightly too high in FE (→GE1). In GE2 (→GE3→GE4) the tie was given an already totally erroneous form of a phrase mark combining a2 in bar 54 with d3 in bar 55. In the main text we give the only undoubtedly authentic version with sustained a2. We give the same version, written with a  repeated before a2 in bar 55 (earlier notation convention), as a separate variant, due to the not entirely determined sound of the penultimate chord in bar 55.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , GE revisions