mUltimate Chopin

Op. 10 No 6, Etude in E♭ minor

Text Compare Notes Sources Description

Issues : EE revisions

b. 1

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

in A

in FE1

in FE2

in GE1

GE1a (→GE2→GE3→GE4→GE5)

EE2 (→EE3)

EE4
..

In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and the dedication (in EE) most probably come from the editors. See the Etude in C major, No. 1, bar 1.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Dedications , GE revisions

b. 1-4

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

Four slurs in A

Two slurs in FE (→EE2)

Two slurs in GE1

Three slurs in GE2 (→GE3)

Three slurs in GE4 (→GE5)

Three slurs in EE3 (→EE4)
..

Each of four slurs in the L.H. written in A embraces the entire bar, despite the fact that due to the inconvenient graphic layout, the notation is not always precise. In FE (→EE2) only two out of them were recreated, in bars 2-3. Similarly in GE1, in which the slur in bar 3 is led only to the penultimate note, a (this inaccuracy was corrected only in GE4 and GE5). In later GE and EE a slur was added in bar 1. In the main text we give all slurs of A, as an intentional omission of some of them in FE is highly unlikely. Cf. bars 9-10.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , Inaccurate slurs in A , GE revisions

b. 1-10

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

Fingering in A

FE (→GE)

EE
..

The omission of '1' at the end of bars 1 and 9 in FE (→GE) could be blamed on the engraver's distraction and considered as the notation's inaccuracy, if it was not for a simultaneous addition of '2' at the end of bars 2-3. According to us, regardless of the reason for omitting these digits, the final effect of the changes in FE must be accepted as deliberate and valid. Allegedly, Chopin assumed that the hand position in bars 1-2 is not as important as in bars 3-4.

In EE the addition by Fontana in bar 1 complies with the fingering written by Chopin in A, yet in bars 9-10 – it does not.

category imprint: Differences between sources

issues: EE revisions , Authentic corrections of FE

b. 2-11

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

No a in A

a in FE (→GE)

a & fingering in EE
..

Chopin changed the version of the last semiquaver in bars 2 and 10 written in A while he was proofreading FE (→GE,EE). Traces of this proofreading are clearly visible in both bars. What is interesting is the fact that in bar 2 A had initially another version, in which a was probably involved, although without the tie sustaining it to the next bar.

In bar 2 the added note a was provided in EE with a fingering digit '3'. We include it in the main text instead of the identical direction at the beginning of the next bar.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Chopin's hesitations , Authentic corrections of FE

b. 2

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

No fingering in A (→FE→GE)

Fingering in EE
..

In EE Fontana employed a supplemented version of Chopin's fingering from bar 4.

category imprint: Differences between sources

issues: EE revisions