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Op. 10 No 6, Etude in E♭ minor

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Issues : EE revisions

b. 4-13

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

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We add cautionary flats before e1 in bars 4 and 12 and e in bars 5 and 13. First three were already added in GE and EE4.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 7

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

c1 in A (→FE→EE2→EE3)

c1 in GE & EE4
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In the main text we give c1 after A (→FE→EE2→EE3). A similar harmonic progression is often to be found in Chopin's works, e.g., in the Etude in E major, No. 11, bars 23-25, therefore, there is no reason to suspect that Chopin overlooked a  in this place. However, in GE (and EE4) a  was added before this c1, changing it into c1. Completing the missing accidentals was the basis of revision in GE, yet Chopin's intention was not always correctly identified (cf., e.g., the Etude in C major, No. 1, bar 46, A minor, No. 2, bar 7, A major, No. 10, bars 23 and 35). A similar change of c1 into c1 was performed in the ending of the Nocturne in B minor, Op. 9 No. 1, published a little bit earlier in the same publishing house (the 11th quaver in bar 83); the change, being an obvious mistake, shows the schematic approach of the edition's reviser.

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 7-15

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

Fingering in A (→FE)

GE

EE
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In the context of the 1st half of bars 7 and 15, the position of the fingering digits indicates the hand with which a given note is to be performed: digits over the notes point to the R.H., digits under the notes – to the L.H. This characteristic fingering was indicated by Chopin in A (→FE) in each appearance of this place (bars 7, 15 and 47). The sense of this fingering, completed already in a proofreading of FE in the 2nd half of bar 7, was not understood by the engraver of GE who arranged all digits over the tie. Fontana also misinterpreted it, as in EE he indicated another division between the hands.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in GE , Authentic corrections of FE

b. 7-15

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

Fingering in A

No fingering in FE (→GE)

Fingering in EE

Our variant suggestion
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The '1' fingering digit written in A in bar 7 over the fourth in the R.H. may refer only to its bottom note, therefore, we move it under the stave (the atypical position of this digit can be explained with the fact that Chopin, allegedly, planned to include the fingering for both notes of the fourth). In FE (→GE) the hint was omitted, perhaps due to a misunderstanding of its meaning. In the fingering added by Fontana in EE (in bars 7 and 15) the bottom note is supposed to be struck with the 3rd finger, while the changes introduced in the fingering of semiquavers prove that the composer's friend completely misinterpreted Chopin's indications in this case. 

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in FE

b. 8

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

Grace note without slash in A (→FE)

Slashed grace note in GE & EE
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The non-slashed grace note in A (→FE) was considered in GE and EE as the notation's inaccuracy. In Chopin's notation, non-slashed grace notes are often treated interchangeably with slashed ones. However, the erasures visible in this place in A suggest that Chopin corrected the rhythmic notation here and he may have thought about a classical long grace note.

category imprint: Differences between sources

issues: EE revisions , GE revisions