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Op. 10 No 6, Etude in E♭ minor

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b. 26

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

Octave in A

No G1 in FE (→GE)

No G1 in EE

Our variant suggestion
..

It is unclear whether the lack of the bottom note of the octave (G1) in FE (→GE,EE) is a result of the engraver's inaccuracy or Chopin's intervention. The fingering (the 1st finger changed to the 3rd one), which is justified only with an octave being struck, yet it can also be used on a single note (in EE it was changed to the one matching the version without the bottom note), does not help to solve this issue. We trust more the version of A, therefore, in the main text we depend chiefly on it.

category imprint: Differences between sources

issues: Errors in FE , Authentic corrections of FE

b. 26

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

..

In the main text we give the fingering written by Chopin in A (→FE→GE). The fingering suggested by Fontana in EE matches the version with sole G.

category imprint: Differences between sources

issues: EE revisions

b. 27-28

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

No slurs in A (→FE→GE,EE2)

Slurs in EE3 (→EE4)

Our suggestion
..

Chopin omitted the slurring in the R.H. in these bars. Due to the fact that the phrasing is marked both before and after this fragment, lack of slur could be misleading for the performer (or interpreted as the notation's inaccuracy). Considering the strict analogy to the previous phrase, we suggest to add the slur also in the L.H. The slurs were added in EE3 (→EE4) in the part of the R.H. in a way contrary to the authentic phrasing in bars 25-26.

category imprint: Editorial revisions

b. 28

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

d in A & GE

d1 in FE (→EE)
..

The natural before the last note was added in the last proofreading of FE (→EE), as it was not included in GE.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 28

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

 in A

FE (→GE,EE)
..

In the main text we give the  hairpins on the basis of A. The marks, written by Chopin's hand and coherent with the indications of the analogous phrase in bars 25-26, do not raise any doubts. Moving the  mark under the stave in FE (→GE,EE) could have been a result of graphic difficulties (lack of space), yet this extension cannot be explained in this way. Perhaps Chopin introduced the mark in a proofreading of FE, as he wanted to prepare the beginning of the longer crescendo in bars 29-31 more clearly.

category imprint: Differences between sources

issues: Inaccuracies in FE , Authentic corrections of FE