mUltimate Chopin

Op. 10 No 11, Etude in E♭ major

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b. 46

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

Two quavers in A (→FE→GE,EE)

Triplet in FED
..

The main text is the version written by Chopin in FED as an addition to the version of A (→FE→GE,EE). We give priority to the entry to the pupils' copy, as this kind of variation of repeating phrases is very characteristic for Chopin; he would often introduce it in the last phase of composing or to already finished pieces (cf. the Mazurka in G minor, Op. 24 No. 1, bars 57 and 59). In this situation an additional argument is the analogy to bar 27. We add the  omitted in the entry, lowering d3 to d3.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FED , Omission of current key accidentals , Authentic post-publication changes and variants

b. 48-49

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

No e3 in A

e3 in FE (→GE,EE) 
..

In A a number of corrections is visible in these bars. In the part of the R.H. Chopin deleted e3 from the 2nd chord (certainly in bar 48, the traces of changes in bar 49 are less visible) and he changed a2 to b2 in the last chord (in both bars). However, at the time of proofreading FE (→GE,EE), he withdrew from the first of the changes. Cf. hesitation concerning the part of the L.H.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Chopin's hesitations , Authentic corrections of FE

b. 48-49

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

No d1 in A

d1 in FE (→GE,EE)
..

Lack of d1 in the 3rd chord in bar 48 in A and deletion of this note in bar 49 prove Chopin's hesitation, as, eventually, he added the note in both bars, while proofreading FE (→GE,EE). Admittedly, the composer had to choose between the correct voice leading and a more graceful and fuller, as far as the sound is concerned, pianistic grip.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Chopin's hesitations , Authentic corrections of FE

b. 48-49

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

..

In A Chopin did not check the notation of accidentals in these bars. In each of them the  returning c4 in the 4th chord is missing, as well as the flats returning e1 in the 5th chord and b3 in the last one. In FE (→GE,EE) all necessary accidentals were added, same as cautionary naturals before c1 and flats before b. In FE, however, the  raising e3 to e3 in bar 49 was overlooked, which was corrected in GE and EE, as well as in FED. Moreover, we add a cautionary  before a2 in bar 49; the accidental was already added in GE and EE4 together with a less justified cautionary  before a.  

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FED , Omissions to cancel alteration , GE revisions , Errors of A , Authentic corrections of FE

b. 48-49

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

  in A

FE

GE

EE
..

In the main text we give the range of hairpins after A, as the minor shifts, to which they were subject in the editions, each time result from an inaccurate interpretation of the base text.

category imprint: Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins