mUltimate Chopin

Op. 10 No 5, Etude in G♭ major

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Issues : Authentic corrections of FE

b. 65

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

Rhythm in A

FE (→GE,EE)
..

The change of the rhythmic configuration in the 1st triplet performed in a proofreading of FE (→GE,EE) is an example of a characteristic rhythmic variant, frequently encountered in Chopin's works (cf. Scherzo in C minor, Op. 39, bar 47). The uniform spacing of notes and a small, clearly inserted rest show that initially Chopin wrote a plain semiquaver triplet there, the correction in FE being only the last stage of changes at this place.

category imprint: Differences between sources

issues: Authentic corrections of FE , Inserted rest

b. 66

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

Crotchet c1 in A

Minim c1 in FE (→GE,EE)
..

Chopin prolonged the sound of c1, while proofreading FE (→GE,EE). It is a continuation of the change whose traces are visible in A – initially the entire five-note chord was written in crotchets.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 72

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

e3 in A

g3 in FE (→GE,EE)
..

e3 as the highest note in this bar is probably Chopin's mistake in A, relatively common in the autographs of his works (cf. very similar situation in bar 24). In any case, while proofreading FE (→GE,EE), Chopin changed it to g3.

category imprint: Interpretations within context; Differences between sources

issues: Terzverschreibung error , Errors in the number of ledger lines , Errors of A , Authentic corrections of FE

b. 72-73

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

No tie to d2 in A & EE2

d2 tied in FE (→GE) & EE3 (→EE4)
..

Lack of the tie sustaining d2 in A is most probably Chopin's oversight. The tie was added in a proofreading of FE (inaccurately – the tie in bar 72 at the end of the line was omitted), it is also included in GE. The hold of this note is also indicated by the fingering added by Chopin in FED. In EE2 the tie was overlooked, which was corrected in EE3 (→EE4). 

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in FE , Errors in EE , Errors of A , Authentic corrections of FE

b. 73-74

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

No marks in A & EE2

Two long accents in FE (→GE1→GE1a)

Two short accents in GE2 (→GE3)

Three short accemts in GE4 (→GE5)

Four accents in EE3 (→EE4)

Three long accents proposed by the editors
..

Two long accents in FE (→GE1→GE1a) were certainly added by Chopin. They confirm the way in which Chopin understood all signs written with the first appearance of this phrase (bars 69-70). All subsequent versions are undoubtedly a result of inaccuracy or revision. We suggest to add the accent in the 2nd half of bar 74, as it seems highly unlikely that Chopin would want the last motif to be performed in a different way.

category imprint: Differences between sources; Editorial revisions

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