mUltimate Chopin

Op. 10 No 5, Etude in G♭ major

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b. 57-58

composition: Op. 10 No 5, Etude in G♭ major

Fingering in A

No fingering in FE (→GE,EE)
..

In the editions, the omission of fingering digits (1) over the 1st notes in these bars is most probably a result of distraction of the engraver of FE.

category imprint: Differences between sources

issues: Errors in FE

b. 57

composition: Op. 10 No 5, Etude in G♭ major

..

We add a cautionary  before d. The accidental was already added in GE4 (→GE5).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 57-60

composition: Op. 10 No 5, Etude in G♭ major

Dots in A

FE (→GE,EE)
..

In A Chopin provided with dots only the bass notes and only in bars 57-58, yet in a proofreading of FE (→GE1) he also added the dots under the chords (except for bar 58, which is certainly an oversight). In GE2 and subsequent and in EE the omitted signs were completed.

Dots in the 2nd half of bar 59 are included in the variants of the last chord in this bar.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE , GE revisions , Authentic corrections of FE

b. 59

composition: Op. 10 No 5, Etude in G♭ major

Triad in A

Complemented version of A

Four-note chord in FE (→GE,EE)

Our alternative suggestion
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Deciphering Chopin's intention regarding the 4th quaver in this bar encounters serious difficulties. In the main text we give the undoubtedly authentic version of A (the d1-g1-b1 chord). The b-d1-g1-b1four-note chord in FE (→GE,EE) may be a result of both Chopin's proofreading and the engraver's error (he could have erroneously inserted the chord from both adjacent, graphically similar, bars). However, the most plausible explanation of the discussed divergence is, according to us, the following: while proofreading this place in FE, Chopin wanted to replace b1 with b in the printed version of A, whereby the engraver performed only the easier part of the task (the then printing technique made adding a note much easier than deleting it). Similar "half-way" corrections are to be found in Chopin's works on several occasions, e.g., in the Etude in E major, No. 11, bar 4, the Scherzo in B minor, Op. 20, bars 135 and 292, the Polonaise in A major, Op. 40 No. 1, bar 93, the Ballade in G minor, Op. 23, bar 171. It leads to an alternative suggestion with the b-d1-g1 chord, as in analogous bar 57.

Both versions suggested by the editors include staccato dots added during the proofreading of FE (→GE,EE).

category imprint: Differences between sources

issues: Errors in FE , Authentic corrections of FE

b. 60

composition: Op. 10 No 5, Etude in G♭ major

g2 in A, GE, EE, FED & FES

b2 in #Wf
..

As the 7th note FE has b2 instead of g2, which appears in the remaining sources. It is certainly a mistake, corrected in the remaining sources, as well as in FED and FES. 

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FED , GE revisions , Annotations in FES