mUltimate Chopin

Op. 10 No 7, Etude in C major

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b. 49-51

composition: Op. 10 No 7, Etude in C major

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The cautionary naturals before the c-c1 octave in bar 49 and C-c in bar 51 were added in FE (→GE,EE).

category imprint: Differences between sources

issues: Cautionary accidentals , Authentic corrections of FE

b. 49-51

composition: Op. 10 No 7, Etude in C major

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The cautionary naturals before f1 in bar 49 and f in bar 51 were added in FE (→GE) and EE4. The accidental in bar 51 is also included in EE3.

category imprint: Differences between sources

issues: Errors in EE , Cautionary accidentals , Authentic corrections of FE

b. 51-52

composition: Op. 10 No 7, Etude in C major

End of slur in A, interpretation 

FE (→GE,EE)
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In A the slur – led over the notes – ends over the 2nd quaver in bar 51, which certainly stems from the inability to lead it further due to the part of the R.H., written on the lower stave. However, it is not certain how far Chopin would have led it if it had not been for graphic difficulties. We assume that, similarly as in analogous bar 49, the slur was supposed to end on the last quaver in bar 51. The slur of FE (→GE,EE), led to the beginning of bar 52, was most probably added by Chopin at the time of proofreading FE. It is of minor significance whether Chopin extended the slur reflecting the notation of A or added a new slur after having noticed its absence.

category imprint: Differences between sources

issues: Inaccurate slurs in A , Authentic corrections of FE

b. 52-53

composition: Op. 10 No 7, Etude in C major

Interpretation of slurs in A & FE

Slur in GE & EE
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Both slurs of A are moved to the right, which could have mislead the engraver of FE and then GE and EE. The slur of FE at the end of bar 52 (end of the line), suggesting a continuation, was considered in GE and EE to be correct, embracing both bars with one slur. In the main text we give the unequivocal, despite inaccuracies, slurs of A.

category imprint: Differences between sources

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

b. 52-53

composition: Op. 10 No 7, Etude in C major

 in A

Long accents in FE

Short accents in GE & EE
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According to us, the marks in the 2nd half of bars 52 and 53 are  hairpins and this is the interpretation we suggest in the main text. In FE they were interpreted as long accents, while in GE and EE – short ones. The version of FE, which generally does not significantly differ from the interpretation of A we propose, may be considered as a minor performance variant. 

category imprint: Differences between sources

issues: Long accents