mUltimate Chopin

Op. 10 No 7, Etude in C major

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b. 53

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

 in A

No sign in FE (→GE,EE)
..

Lack of  hairpins in FE (→GE,EE) is most probably a result of distraction of the engraver of FE.

category imprint: Differences between sources

issues: Errors in FE

b. 54-55

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

Accents in A

FE (→GE,EE)
..

Different accents of FE (→GE,EE) are certainly a result of Chopin's proofreading of FE. The accents in A should rather be considered as long, yet the marks in FE (→GE,EE) already resemble common short accents.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 56

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

No fingering in A

Fingering in FE (→GE,EE)
..

The fingering was added by Chopin in a proofreading of FE (→GE,EE).

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 56

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

Minim and rest in A

Dotted minim in FE (→GE,EE)
..

Change of the rhythmic value of the C-G fifth is probably a result of Chopin's proofreading of FE (→GE,EE). However, it is uncertain what was the element Chopin was proofreading, it could have been an erroneous version, e.g., a misplaced rest. While applying the original pedalling, both notations are equal. 

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 57-58

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

in A (→FE→GE,EE)

in FED

Our variant suggestion
..

Chopin's annotation in FED defines a different dynamic concept of the final passage of the Etude in this place. We give the information on this alternative solution to the version of A (→FE→GE,EE) in the main text in the form of an annotation at the bottom of the page.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FED , Authentic post-publication changes and variants