mUltimate Chopin

Op. 10 No 11, Etude in E♭ major

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b. 9

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

No arpeggio signs in A (→FE)

Arpeggio signs in GE & EE
..

The omission of arpeggios in A (→FE) is probably a preview of the transition to the abbreviated notation used in subsequent bars. There is no doubt that Chopin did not want to change the notation here, not to mention the performance.

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in A

b. 9

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

No mark in A

 in FE (→GE,EE) 
..

Lack of  in A is probably related to the partially simplified notation of this bar – cf. the remark concerning the missing arpeggios. The mark was added in FE (→GE,EE).

category imprint: Differences between sources

issues: Authentic corrections of FE , Inaccuracies in A

b. 10-15

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

..

In A these 6 bars are written in an abbreviated form, being the repetition of bars 2-7. In bar 10 Chopin additionally wrote the notes of the part of the R.H., perhaps in order to facilitate the identification of the bar from which the copying should start. In "empty" bars 10-15 Chopin wrote exact hints like "as the 2nd bar of the beginning," yet he did not number the written out bars 2-7. The numeration written in pencil (the digits from 1 to 5 both over bars 3-7 and 11-15), probably by the engraver, proves that Chopin's description was not sufficient.

category imprint: Differences between sources

issues: Abbreviated notation of A

b. 10

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

No slur in A (literal reading) & FE (→GE,EE)

Slur in A (contextual interpretation)
..  

category imprint: Interpretations within context; Differences between sources

b. 11-12

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

in A

in FE (→GE,EE) 

suggested by the editors
..

In A these bars are not written out, only marked as a repetition of bars 3-4. However, unlike in A, in FE (→GE,EE) the  mark in bar 11 was not omitted and moreover a  mark at the end of bar 12 was added. The completion of the notation could have been a result of Chopin's correction, yet it is not certain (one could imagine the engraver's error who first engraved the  marks and then added  to them, already without consulting the base text). As we cannot be dealing with the performance of both bars with one pedal here, in the main text we repeat the notation of bars 3-4. 

category imprint: Differences between sources; Editorial revisions

issues: Authentic corrections of FE