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Op. 10 No 6, Etude in E♭ minor

Text Compare Notes Sources Description

Issues : EE revisions

b. 48

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

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In FE the dots extending the c1-f1 fourth were omitted, which is a patent error, corrected in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , GE revisions

b. 50

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

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The sources differ in the presence or absence of cautionary accidentals in the 1st half of the bar.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions , Cautionary accidentals

b. 50

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

No fingering in A (→FE→GE)

Fingering in EE
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The fingering of EE in the 1st half of the bar – also in the R.H. – is Fontana's addition.

category imprint: Differences between sources

issues: EE revisions

b. 50-51

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

No fingering in A

Fingering in FE

GE1 (→GE2→GE3)

GE4 (→GE5)

EE

Our suggestion
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The given in the main text fingering in the 2nd half of bar 50 was added by Chopin in a proofreading of FE. In this edition the 1st finger is repeated also over g at the beginning of bar 51, which seems to be an error (the digit was deleted in GE4 and GE5). In GE Chopin's indication of division between the hands with the use of digits under and above the notes was misunderstood. In EE Fontana modified and completed authentic indications.

category imprint: Differences between sources; Editorial revisions

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

b. 51-52

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

No fingering in A

Fingering in FE (→GE1→GE2)

GE3 (→GE4→GE5)

EE2

EE3 (→EE4)

Fingering written into FES

Our variant suggestion
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The given in the main text fingering of bar 51 was added by Chopin in a proofreading of FE (→GE1→GE2). Apparently, the deletion of the '2' digit (in ink) visible in FE should be understood as the '1' digit and this is the interpretation we include in the main text as a variant suggestion. The copy includes other signs (in pencil), which are probably also '1's over the 7th and 12th semiquavers in bar 51 and the 1st one in bar 52. However, the signs could be interpreted in another way, e.g., as an indication of performance with the R.H., therefore, we do not include them in the main text. In EE2 the final fragment of the Etude was provided with additional fingering and indications for the division between the hands contrary to the one written by Chopin. In EE3 (→EE4) those indications were removed, and four digits were added in bar 51.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Inaccuracies in GE , Annotations in FES , Authentic corrections of FE