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Op. 10 No 12, Etude in C minor

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Verbal indications

b. 1

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

in A

in FE (→GE,EE) 
..

In the main text we give the metronome marking introduced by Chopin in a proofing of FE (→GE,EE). The slightly faster tempo than the one written by Chopin in A is compatible with the rhythmic changes in a few fragments of the Etude – in bars 27, 30 and 32 Chopin withdrew from the use of demisemiquavers.

category imprint: Differences between sources; Corrections & alterations

issues: Metronome tempos , Authentic corrections of FE

b. 1

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

in A

in FE1

in FE2

in GE

in EE3

in EE4
..

In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and dedication (in EE) most probably come from the editors. See the Etude in C major, No. 1, bar 1.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Dedications , GE revisions

b. 1

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

..

In A the indication legatissimo is written in an abbreviated form: legatiss. In the main text we follow the version of the editions.

category imprint: Source & stylistic information

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. 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