Issues : GE revisions

b. 1

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

in A

in FE1

in FE2

in GE1

GE1a (→GE2GE3GE4GE5)

EE2 (→EE3)

..

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. 4-13

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

..

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 (→FEEE2EE3)

c1 in GE & EE4

..

In the main text we give c1 after A (→FEEE2EE3). 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 46A minor, No. 2, bar 7A major, No. 10, bars 23 and 35). A similar change of cinto 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. 8

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

Grace note without slash in A (→FE)

Slashed grace note in GE & EE

..

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