mUltimate Chopin

Op. 10 No 5, Etude in G♭ major

Text Compare Notes Sources Description

Issues : Corrections in A

b. 1

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

..

In A there are visible traces of the time signature's change: from  to 2/4. This may mean that there was a working notation of the Etude in two-time longer rhythmic values (cf. bars 4-12 and 8).

category imprint: Corrections & alterations

issues: Changes of metre , Corrections in A

b. 12

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

e3, more likely reading of A (→FE→GE1,EE2→EE3)

d3 in GE2 (→GE3→GE4→GE5) i EE4
..

In A the head of the note embraces the area of two notes, d3 and e3, which stems from the simplified probably hasty correction. In spite of this, in FE (→GE1,EE2→EE3) it was correctly interpreted as e3. However, the reviser of GE2 (→GE3→GE4→GE5) changed it to d3, which was accepted as legitimate also in EE4. 

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: EE revisions , Corrections in A , GE revisions

b. 16

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

Numeral 1 on first note in A

Numeral on penultimate note in FE (→GE,EE)

Both numerals suggested by the editors
..

Lack of the fingering digit over the 1st note is most probably an error of the engraver of FE (→GE,EE). Moreover, the status of the last digit in the editions is also not entirely clear in this bar. In A there are traces of a correction in this place, which could have been considered as '1' (perhaps Chopin started writing another a3, yet he erased it, having noticed the mistake). However, we believe the explanation that Chopin added this reasonable and facilitating fluent reading digit in a proofreading of FE to be more plausible. In the main text we consider both discussed '1's.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Errors in FE , Corrections in A , 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. 52

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

e3 in A (→FE→GE1,EE)

d3 in GE2 (→GE3→GE4→GE5)
..

In A Chopin erased the 9th semiquaver and wrote a different one, most probably e3, which is given here by FE (→GE1,EE). In subsequent GE,s the note was arbitrarily changed to d3.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Corrections in A , GE revisions , Main-line changes