mUltimate Chopin

Op. 10 No 7, Etude in C major

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Issues : Authentic corrections of FE

b. 16-18

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

No fingering in A

Fingering in FE (→GE)

EE
..

In the main text we give the fingering in bar 17, added by Chopin in a proofreading of FE (→GE). In EE Fontana added similar indications also at the beginning of adjacent bars. 

category imprint: Differences between sources

issues: EE revisions , Authentic corrections of FE

b. 16

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

b2 from 7th semiquaver in A

b2 on 11th semiquaver in FE (→GE,EE)
..

The version of A is certainly earlier and was changed by Chopin in a proofreading of FE (→GE,EE). Cf. bar 18, in which this rhythm of harmonic changes was present from the beginning.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 16-23

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

Pedalling in A

FE (→GE,EE)
..

The pedalling in A is written rather at random – only the  marks in bars 17 and 21 and the whole-bar long pedalling in bars 19-20. In the main text we give the indications of the version completed by Chopin in a proofreading of FE (→GE,EE).  

category imprint: Differences between sources

issues: Authentic corrections of FE , No pedal release mark , Inaccuracies in A

b. 17

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

No mark in A

Wedge in FE (→GE1,EE)

Dot in GE2 (→GE3→GE4)
..

In A Chopin omitted the staccato mark in the middle of bar 17, probably due to corrections. We consider the wedge added in a proofreading of FE (→GE1,EE) to be a binding indication of Chopin's intention in this respect. In GE2 (→GE3→GE4) the wedge was replaced with a dot.

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of FE , Wedges

b. 24

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

..

In A there is no  lowering a1 to a1 in the chord on the 2nd quaver of the bar. It is a patent error, comprehensible when we realise that first Chopin wrote the part of the R.H., probably in a half-bar long fragments, and then he wrote the part of the L.H. At the moment of writing the discussed chord, a as an element of the prevailing harmony was already grounded in his awareness. The accidental was added in FE (→GE,EE). 

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , Errors of A , Authentic corrections of FE