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b. 43-44

composition: Op. 10 No 11, Etude in E♭ major

Indications in A

No indications in FE (→GE,EE

Our variant suggestion

..

Distraction, or perhaps also lack of space, are, according to us, the possible reasons for omitting the dynamic indications in FE (→GE,EE).

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 43-44

composition: Op. 10 No 11, Etude in E♭ major

End of slur in A, contextual interpretation

Possible reading of slur in A (→FEGE,EE)

..

It is unclear whether according to Chopin's intention the slur of A was supposed to end on the last quaver in bar 43 or reach until the beginning of bar 44. In the main text we adopt the second interpretation.

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 43

composition: Op. 10 No 11, Etude in E♭ major

e1 in chord in A

No e1 in FE (→GE,EE)

..

The lack of e1 in the 2nd L.H. chord is most probably due to difficulties in reading A. In Chopin's autographs, internal chord notes placed on ledger lines are often barely visible. This leads to their presence (or lack of) being hard or even impossible to ascertain. Cf. e.g. Etudes in G Op. 10 No 5, bar 15 or in A Op. 10 No 10, bars 76-77.

category imprint: Differences between sources

issues: Inaccuracies in FE , Uncertain notes on ledger lines

b. 44-46

composition: Op. 10 No 11, Etude in E♭ major

Arpeggio signs in A

No arpeggio signs in FE (→GE)

Arpeggio signs in EE

..

The missing arpeggios in the editions is most probably a result of distraction of the engraver of FE (the marks were added in EE in bar 46).

category imprint: Differences between sources

issues: Errors in FE

b. 44

composition: Op. 10 No 11, Etude in E♭ major

e in A, GE & EE

in FE

..

as the lowest note of the chord on the 2nd quaver in the bar is most probably the engraver's error. The note was changed to e both in GE and EE.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Terzverschreibung error , GE revisions