mUltimate Chopin

Op. 10 No 11, Etude in E♭ major

Text Compare Notes Sources Description

Issues : Errors in FE

b. 1

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

in A (contextual interpretation)

in FE1

in FE2

in GE

in EE3

in EE4
..

In A of this Etude Chopin wrote only the following opus number instead of a title, which certainly does not equal the fact that he wanted to waive the name Etude used in the autographs of other etudes (No. 5-8 and 12). 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 the 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. 4

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

No e in chord in A

Chord with e in FE (→GE,EE)
..

The origin of the additional e note present in the 1st chord in the bar in FE (→GE,EE) is unclear. Chopin could have added it at the time of proofreading FE, yet it seems more plausible that it was printed by mistake instead of g (Terzverschreibung) or B (the second possibility is indicated by the length of the arpeggio wave). Then the correct note was added, yet the erroneous one was not deleted, which is a characteristic error of engravers (the then printing technique made adding a note much easier than deleting it). Similar mistakes were often committed in other Chopin's works, e.g., in the Scherzo in B minor, Op. 20, bars 135 and 292, the Ballade in G minor, Op. 23, bar 171 and the Polonaise in A major, Op. 40 No. 1, bar 93. Cf. the remark concerning the Etude in G major, No. 5, bar 59.   

category imprint: Differences between sources

issues: Errors in FE , Errors resulting from corrections , Terzverschreibung error , Authentic corrections of FE

b. 15

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

a in chord in A

No a in FE (→GE,EE) 
..

Lack of a in the 1st chord in the editions is most probably a result of a mistake of the engraver of FE. Cf. bars 7 and 39.

category imprint: Differences between sources

issues: Errors in FE

b. 18

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

..

The text does not raise any doubts here, yet the notation of accidentals differs in particular sources and it is not always precise. In FE the  before the 1st chord in the L.H. was initially placed at the pitch of c1 and it was probably at this stage that the copy constituted the base text for GE, in which the accidental was moved to the correct place (before g). In FE (→EE) the  before c1 was eventually changed to a , yet the necessary  before g was added only in EE. In GE2 (→GE3→GE4) a  was added before c1, as well as before c2; the latter was also introduced in EE4. In A there is no flat before g2 in the 5th chord, which was already added in FE (→GE,EE).

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , GE revisions , Cautionary accidentals , Authentic corrections of FE

b. 25

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

Wedge in A

No mark in FE

Dot in GE & EE
..

The wedge visible in A over the 1st chord in the R.H. was omitted in FE. In the remaining sources a dot was added here.

category imprint: Differences between sources

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