mUltimate Chopin

Op. 10 No 12, Etude in C minor

Text Compare Notes Sources Description

Issues : Scope of dynamic 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. 19-23

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

  in A

FE (→EE)

GE
..

For each source we give the pairs of hairpins appearing under similar figures in the L.H. in the unified version.

category imprint: Interpretations within context; Differences between sources

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

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. 78

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

 in A

Possible interpretation of A

 in FE (→GE,EE) 
..

The interpretation of the  mark written in A presents a number of problems. It undoubtedly concerns the part of the R.H., in fact, only one note – d2. Therefore, it could be considered as a kind of reversed long accent. The  hairpins visible in FE (→GE,EE) actually have a similar meaning and they were not questioned by Chopin at the time of proofreading, thus we adopt them in the main text.

category imprint: Interpretations within context; Differences between sources

issues: Scope of dynamic hairpins