mUltimate Chopin

Op. 10 No 7, Etude in C major

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b. 57

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

..

In GE2 (→GE3→GE4) the characteristic for Chopin rhythmic notation of the L.H. was replaced with a notation that is compliant with the rules, yet more complicated in terms of graphic: .

category imprint: Differences between sources

issues: GE revisions

b. 57-58

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

Slur in A

No slur in FE (→GE,EE)
..

The slur combining the demisemiquaver at the end of bar 57 with the crotchet which opens bar 58 was probably overlooked in FE (→GE,EE).

category imprint: Differences between sources

issues: Errors in FE

b. 58-59

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

 in A

FE (→GE,EE)
..

It is unclear how the change in placing the  indication occurred – it may be either an error of the engraver or Chopin's correction. In this kind of endings Chopin generally embraces the entire chordal ending with , e.g., in the Etudes in C minor, No. 4 and G major, No. 5, Waltzes in E major, Op. 18 and A major, Op. 34 No. 1, Variations in B major, Op. 12 or Bolero in A minor, Op. 19. Due to this fact, in the main text we adopt the unequivocal version of A. From the practical point of view, the difference in placing  is signficant only when we adopt the dynamic concept in bars 56-58 written in FED.

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 58

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

..

EE3 overlooked the bass clef at the end of the bar. The error was corrected in EE4.

category imprint: Differences between sources

issues: Errors in EE

b. 59

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

No sign in A (→FE)

 sign in GE & EE
..

In GE and EE a  mark was added at the end of the piece. Leaving the endings of the works without this mark is characteristic of Chopin and in some situations it can have a practical meaning.

category imprint: Differences between sources

issues: EE revisions , GE revisions , No pedal release mark