Issues : GE revisions
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b. 1
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composition: Op. 10 No 5, Etude in G♭ major
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In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and the dedication (in EE) most probably come from the editors. See the Etude in C major, No. 1, bar 1. category imprint: Differences between sources issues: EE revisions , Errors in FE , Dedications , GE revisions |
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b. 1
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composition: Op. 10 No 5, Etude in G♭ major
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The indications of triplets are our addition. The digits, together with the slurs, were also added in the entire bar in GE4 (→GE5). category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 2-14
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composition: Op. 10 No 5, Etude in G♭ major
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The pedal markings added in a proofreading of FE in bars 2, 6 and analog. differ in the placement of the pedal release's mark, which in bars 2 and 14 (as well as in 50) is under the 3rd quaver of the bar, while in bar 6 – under the 2nd one. According to us, it cannot be excluded that Chopin had a different vision of pedalling in bars 1-2 and 9-10 (the first bar of the pair without pedal and in the second one, a half-bar long pedal) and a different one in bars 5-6 and 13-14 (all bars with a pedal to the 2nd quavers). We suggest this possibility, in which the category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: EE revisions , Inaccuracies in FE , GE revisions , Authentic corrections of FE , No pedal release mark |
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b. 3-11
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composition: Op. 10 No 5, Etude in G♭ major
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Pedalling in bar 3 and analog., added by Chopin in a proofreading of FE, is inconsistent (bars 3 and 51 have all marks, yet they are differently distributed) and partially incomplete (in bar 11 there is only the category imprint: Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations issues: EE revisions , Inaccuracies in FE , GE revisions , Authentic corrections of FE , No pedal release mark |
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b. 4-12
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composition: Op. 10 No 5, Etude in G♭ major
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We consider the marks written in A under the chords in bars 4 and 12 as long accents. Only first of them was reproduced in FE (→EE2). In GE the sign in bar 4 became a common short accent and in bar 12 both chords were provided with staccato dots. In EE3 (→EE4) a short accent was added in bar 12. According to us, only the version of A is authentic. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE , Inaccuracies in FE , GE revisions |
mark in bar 14 must be considered as misplaced, in the main text. As an alternative, we give a homogeneous pedalling in bars 2, 6 and analog., in which 
sign at the beginning of the bar). The second 
