mUltimate Chopin

Op. 10 No 11, Etude in E♭ major

Text Compare Notes Sources Description

Issues : Omission of current key accidentals

b. 16

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

..

In A there is no  lowering g to g on the 5th quaver in the bar. The accidental was added in FE (→GE,EE).

category imprint: Differences between sources

issues: Omission of current key accidentals , Authentic corrections of FE

b. 22

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

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In A there is no  lowering g to g in the 1st chord in the L.H.

category imprint: Interpretations within context; Differences between sources

issues: Omission of current key accidentals , Errors of A , Authentic corrections of FE

b. 37-38

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

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In A there are no flats lowering d2-d3 to d2-d3 in bar 38. The mistake was corrected in GE and EE. In bar 37 in FE a  was overlooked before the lower note of the 4th chord, which was also corrected in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , GE revisions , Omission of current key accidentals , Errors of A

b. 44-46

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

..

In A in bars 44 and 46 only the first out of four necessary flats lowering d1/2 to d1/2 is included. In FE two missing signs were added, apart from the accidental in the R.H. in bar 46 (which, in turn, was added in FED). In the remaining editions the notation is correct. 

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FED , GE revisions , Omission of current key accidentals , Authentic corrections of FE

b. 46

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

Two quavers in A (→FE→GE,EE)

Triplet in FED
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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