mUltimate Chopin

Op. 10 No 9, Etude in F minor

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b. 25-27

composition: Op. 10 No 9, Etude in F minor

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In AI Chopin would generally write accidentals only next to the upper notes of the octaves. The only sign before a bottom note is the  lowering g2 to g2 in bar 27. The notation of A is already much more precise – only the  lowering g1 to g1 in bar 25 is missing. FE (→GE,EE) have the correct text.

category imprint: Differences between sources

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

b. 26

composition: Op. 10 No 9, Etude in F minor

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AI is missing the cautionary accidentals before the 1st octave.

category imprint: Differences between sources

issues: Cautionary accidentals

b. 26-27

composition: Op. 10 No 9, Etude in F minor

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We add cautionary flats before b1-b2 in bar 26 and e2-e3 in bar 27.

category imprint: Editorial revisions

b. 27

composition: Op. 10 No 9, Etude in F minor

No accidentals in AI

Naturals in A (→FE→GE,EE)
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The version of AI is most probably erroneous, which is indicated by the comparison with bar 26 and the notation of the remaining sources.

category imprint: Differences between sources

b. 27

composition: Op. 10 No 9, Etude in F minor

E in AI & A

F in FE (→GE,EE)
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The notation with E, present in both autographs, was changed – most probably by Chopin – in a proofreading of FE (→GE,EE). According to us, it is however possible that the proofreading concerned an erroneous version – e.g., a sole note head without the ledger line and natural, due to which it looked like an F. It undermines the expression of this change as proving Chopin's preference of the notation with F instead of E. In the manuscripts the progression of the bass in bars 26-27 is written in a much more natural way: B1-C-E-G-B than in the editions: B1-C-F-G-B.

category imprint: Differences between sources

issues: Enharmonic corrections , Authentic corrections of FE