mUltimate Chopin

Op. 10 No 5, Etude in G♭ major

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b. 16-17

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

Beginning of slur in A, literal reading

Direct interpretation of A (→FE→GE,EE)

Contextual interpretation of A
..

The slur in A begins over the penultimate note in bar 16, yet Chopin undoubtedly thought of a3 as the first note under the slur and so it was recreated in the editions. According to us, it is, however, very likely that Chopin mistook the last group in bar 16 with the first group in bar 17, which also starts with a3. At the time of writing the slur, the composer, in haste, could have considered the beginning of the octave sign as coinciding with the beginning of the new phrase, which he probably wanted to embrace with the slur. 

category imprint: Interpretations within context; Differences between sources

issues: Inaccurate slurs in A

b. 16

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

Slur in A

Dots in FE (→GE,EE)
..

Chopin removed the slur and crotchet stem and added staccato dots in a proofreading of FE (→GE,EE).

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 17-19

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

No indications in A

 & cresc. in FE (→GE) & EE4

cresc. in EE2 (→EE3)
..

Chopin added  and cresc. in a proofreading of FE (→GE). In EE2 (→EE3)  was overlooked. Cf. the adjacent note.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 17-22

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

No marks in A

 in FE

GE & EE

Long accents suggested by the editors
..

According to us, three  signs in bars 17-18 and 21, written by Chopin during a proofreading of FE, are long accents and they refer to b1 notes of appoggiatura nature in the L.H. This kind of motifs are often to be found in Chopin's works, e.g., in the Nocturne in G minor, Op. 37, No. 1, bars 1-2 and analog., the Polonaise in E major, Op. 22, bars 111-112 and analog. In the editions the signs are longer and aligned rather under the R.H. The fact that the engraver of FE not always correctly recreated Chopin's entries is proved by distorted accents in the Etude in A minor, No. 2, bars 8 and 12. In the main text we also suggest to add the mark in bar 22.

In A the b1 notes in bars 17-18 and 21-22 were written instead of the original a1 notes.  

 

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions; Corrections & alterations; Source & stylistic information

issues: Long accents , Corrections in A , Accompaniment changes , Authentic corrections of FE

b. 17-22

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

Fingering in A

FE (→GE)

EE
..

We give the fingering digits in bars 17-18 and 21-22 after A. In FE (→GE) the '1' digits were omitted at the end of bars 18 and 22, which we consider as a result of distraction. In EE Fontana added 9 digits, precising the fingering stemming from Chopin's hints and analogies.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE