mUltimate Chopin

Op. 10 No 5, Etude in G♭ major

Text Compare Notes Sources Description

Issues : Inaccuracies in GE

b. 41-43

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

No marks in A

Dot in FE

Dots in GE1 (→GE2), EE & GE4 (→GE5)

Dot in GE3
..

The staccato dot at the beginning of bar 41 was added by Chopin – together with the dots at the beginning of bars 45 and 47 – in a proofreading of FE. In this situation, we consider the lack of the relevant sign in bar 43 as an oversight. The dot was also added both in GE and EE. Lack of the dot in GE3 in bar 41 is a patent error.

category imprint: Differences between sources

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

b. 43-44

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

Fingering in A (→FE)

GE

EE

Our variant suggestion
..

The fingering of A (→FE) in bar 44 was completed by Fontana in EE. Omission of the digit over the 4th note in bar 43 in GE is most probably a result of an oversight. The figuration in this bar requires a position of the hand whose fingering was changed by Chopin in bar 41. According to us, from the pianistic point of view, the extension of this correction's range is justified, therefore, in the main text we suggest two variants of the fingering.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Inaccuracies in GE

b. 45-47

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

Dot in A

Three dots in FE (→GE1→GE2) & GE5

Two dots in EE & GE3 (→GE4)
..

The staccato dots at the beginning of bars 45 and 47 were added in a proofreading of FE to the dot written in A over the 2nd quaver in bar 47 (it cannot be excluded that the dot of A was overlooked and Chopin added all three marks at the time of proofreading FE). In EE the sign at the beginning of bar 47 was omitted, perhaps as a result of an oversight or revision. In turn, lack of the dot in this place in GE3 (→GE4) must be an error, corrected in GE5.

category imprint: Differences between sources

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

b. 45-46

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

  in A

FE (→GE1,EE)
 

Our suggestion
..

It is unclear how the discrepancies between A and FE surfaced. Allegedly, there are a few factors to be considered: the inaccurately recreated hairpins of A and an ad hoc proofreading by Chopin in FE (→GE1,EE). In the main text we suggest a set chosen from the signs of FE, following the natural phrasing, which also stems from the notation of A. In GE2, and to a lesser extent in subsequent GE,s, the signs between the staves were assigned to the part of the R.H.

category imprint: Interpretations within context; Differences between sources

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

b. 55-56

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

Accents in A

 & accent in FE

Long accents in EE

 in GE
..

It does not seem possible that the accents of A, clearly falling on the 3rd quaver in both bars, took the form they have in FE due to the engraver's inaccuracy. Therefore, we consider the version of FE as an expression of Chopin's latest intention (despite the difference in length we consider both signs as long accents, as it was interpreted in EE). In GE the signs were given the form of short  hairpins, which in this context is generally equal to long accents. 

category imprint: Differences between sources

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