mUltimate Chopin

Op. 10 No 7, Etude in C major

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b. 9-10

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

Two accents in A

Long accent in FE (→EE)

Short accent in GE
..

In FE the type of the accent in bar 9 (short or long) is not obvious – in GE it was reproduced as short, in EE – as long. In FE (→GE,EE) the short accent in bar 10 was overlooked. In FED Chopin added a long accent in bar 9, confirming the printed sign.

category imprint: Differences between sources

issues: Long accents , Annotations in teaching copies , Errors in FE , Annotations in FED , Inaccuracies in GE

b. 10-12

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

Slur in A (→FE→GE)

Slurs in EE

Our suggestion
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According to us, the slur written in bar 10 in A (→FE→GE,EE3) represents a phase of the original, partially draft slurring of the Etude. Both in analogous bars 2-3 and 35-36 the slurs embrace the a note on the 3rd quaver of the bar (cf. the remark on bar 1) and in bars 2-3 one can also see traces of extending the slur from bar 2, so it embraces the 1st half of bar 3 too. Therefore, in the main text we suggest a slur modelled after the latter, corrected by Chopin.

In EE4 whole-bar long slurs in bars 11 and 12 were added to the slur in bar 10, which is an arbitrary addition.

category imprint: Interpretations within context; Editorial revisions

issues: EE revisions

b. 10

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

..

In A there is no  returning a2 on the 10th semiquaver. This obvious oversight was corrected in FE (→GE,EE).

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , Errors of A , Authentic corrections of FE

b. 11

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

..

In A Chopin overlooked the  raising c1 to c1 on the 3rd quaver. The mistake was corrected in FE (→GE,EE). 

category imprint: Differences between sources

issues: Errors of A , Authentic corrections of FE

b. 12

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

e2 in A

e2 & e2 in FE (→GE,EE)
..

Lack of the  returning e2 on the 7th semiquaver and the  returning e2 two semiquavers later clearly suggests the use of the C minor chord in the middle of this bar. Chopin's proofreadings of FE (→GE,EE), however, ensure that, similarly as in bar 4, the composer's intention was the C major chord (in A analogous bar 37 is already written correctly).

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Omissions to cancel alteration , Errors of A , Authentic corrections of FE