EE2 - First English edition
| Publisher: | Wessel & Co. |
| Date: | 1835-1836 |
| Title: | Douze Grandes Etudes || No. VI |
| Dedication: | ses amis J. Liszt et Ferd. Hiller |
In the first English edition the entire Opus 10 is divided into two books, six Etudes each, while EE2 is the earliest known impression of the 1st book. As it is uncertain whether the text of the previous impressions differed from the text of the presented copy, on the basis of the current state of the preserved sources, we refer to EE2 as the first English edition (see the Etude in C major, No. 1).
EE2 generally reproduces the text of FE1, however, a few mistakes and inaccuracies were committed: the accents in bars 7, 13, 32, 39 and 53 and naturals raising d
1 to d1 in bars 47-48 were omitted. On the other hand, in this Etude, a number of positive changes was also introduced: the 
returning f in bar 15 was moved, a at the beginning of bar 18 was added, as well as a before a1 in bar 50 and dots extending crotchets in bars 20-21, 38 and 48 were added. It remains open if these sparse corrections of undeniable mistakes (concerning only chosen aspects of the notation) justify describing EE2 as "New & revised edition", as the title page shows. According to us, there is probably another explanation:
- The information quoted on the cover in fact concerns EE3, which actually includes both corrections of errors of EE2 and certain arbitrary additions.
- The editor, at the time of preparing the new corrected impression (EE3), still had to his disposal some copies of EE2. Due to the fact that he did not want to forgo their sales, he introduced to them the most significant corrections by hand and offered them to his clients with a changed title page. Such corrections, probably written in quill pen and overriding almost all aforementioned engraver's oversights, are visible in the copy of EE2 being at display in mUltimate Chopin. The second known copy (from the collection of the British Library) also includes similar annotations, although less numerous.
If the above proves to be right, the presented copy would date back to the preparation stage of EE3, hence 1835-1836.
The fingering added by Fontana includes additions of Chopin's fingering (in 29 bars in total), generally stemming from Chopin's indications, yet sometimes disputable, see the remark concerning bar 1. The attention is drawn to EE2 omitting a part of the fingering added by Fontana in bar 51.
The annotations in pencil visible in the presented copy are of no source value.
| Original in: | Royal Academy of Music, London |
| Shelf-mark: | 4 Chopin 10 (1) |