mUltimate Chopin

Op. 10 No 6, Etude in E♭ minor

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b. 42

composition: Op. 10 No 6, Etude in E♭ minor

e1 tied in A, GE3 (→GE4→GE5), EE3 (→EE4) & FEJ

e1 repeated in FE (→EE2,GE1→GE2)
..

The overlooked in FE (→EE2,GE1→GE2) tie sustaining e1 was added in the remaining editions. The sign was also added in FEJ.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , GE revisions , Annotations in FEJ

b. 43-48

composition: Op. 10 No 6, Etude in E♭ minor

Long accents in A

Short accents in FE (→GE)

Different accents in EE
..

We interpret the accents of A in bars 43, 46-48 as long ones. In the editions they were generally reproduced as short, while the mark in bar 48 was totally omitted (the engraver's distraction – see the remark on the rhythmic error).

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

issues: Long accents

b. 44-45

composition: Op. 10 No 6, Etude in E♭ minor

g repeated in A

g tied in FE (→GE,EE)
..

The missing tie sustaining g in A is most probably Chopin's mistake, who added it in a proofreading of FE (→GE,EE). Cf. bars 12-13. 

category imprint: Differences between sources

issues: Errors of A , Authentic corrections of FE

b. 45-46

composition: Op. 10 No 6, Etude in E♭ minor

Fingering in A

No fingering in FE (→GE,EE)

Fingering written into FES
..

In the main text we give the fingering added by Chopin in FES. The 1st finger on e1 in bar 45 is also copied in A.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 45

composition: Op. 10 No 6, Etude in E♭ minor

 in A

FE (→GE1,EE)

GE2 (→GE3→GE4→GE5)

Our suggestion
..

Allegedly, the mark of A was supposed to have a similar range as in the significantly less carefully written bars 5 and 13. The notation of A shows signs of underdevelopment and haste in this aspect, e.g., lack of the tie sustaining g (while the tie of e1 is marked only in bar 44, at the end of the line), lack of the dot extending the e1 minim, lack of the  returning g in bar 46. Therefore, in the main text we suggest the indications used by Chopin in bars 5 and 13.

The character of the  hairpins in FE (→GE1,EE) is actually the one of a long accent nature, yet it is uncertain whether their arrangement in the 1st half of the bar was a result of Chopin's intervention or of the engraver's inaccuracy. In subsequent GE,s the mark was arbitrarily extended with an unexpected consistency (which is averaged by us).

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Authentic corrections of FE