mUltimate Chopin

Op. 10 No 6, Etude in E♭ minor

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b. 45

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

Minim e1 in A (→FE→GE1,EE)

Dotted minim in GE2 (→GE3→GE4→GE5)
..

The overlooked dot extending the e1 minim in A was added only in GE2 (→GE3→GE4→GE5). It is not a rhythmic mistake sensu stricto, yet the comparison with analogous bars 5 and 13 prove Chopin's error. 

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Inaccuracies in A

b. 46

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

Dotted crotchet d1 in A

Crotchet d1 in FE (→EE,GE1→GE2→GE3)

Dotted crotchet d1 in GE4 (→GE5)
..

Chopin wrote here d1-g1 on one stem, which probably contributed to the omission of the dot extending d1 in FE (→EE,GE1→GE2→GE3). In GE4 (→GE5) a more accurate notation was applied in this bar, used by Chopin in analogous bars 6 and 14. We adopt this solution in the main text.

category imprint: Differences between sources

issues: Errors in FE , Different values of chord components

b. 46

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

..

We add a cautionary  before g1.

category imprint: Editorial revisions

b. 46

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

..

In A there is no  returning g, which is a patent error, corrected in a proofreading of FE (→GE,EE). Cf. bars 6 and 14.

category imprint: Differences between sources

issues: Omissions to cancel alteration , Errors of A , Authentic corrections of FE

b. 47-48

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

 in A

FE (→GE1→GE2→GE3)

EE

GE4 (→GE5)
..

In A the  hairpins clearly refer to short melodic connecting passages leading to the Neapolitan chord. In FE the marks were extended and their reference to the part of the R.H. is unsure. According to us, it is a result of the engraver's misunderstanding of the manuscript. In EE and subsequent GE,s, the mark in bar 48 was extended after bar 47.

category imprint: Differences between sources

issues: Inaccuracies in FE , EE inaccuracies