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Op. 10 No 9, Etude in F minor

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Verbal indications

b. 27-28

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

Indications in AI

A, literal reading

Contextual interpretation of A (→FE→GE,EE)
..

Despite the difference in arrangement and number of indications, the character and flow of this phrase were not subject to any change, as it seems. The fact of having written under the 2nd octave in bar 28 in A is most probably an example of a manner of arranging indications near the middle of the scope of their validity and this is how it was interpreted in FE (→GE,EE).

category imprint: Differences between sources; Corrections & alterations

issues: Centrally placed marks

b. 32

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

No marking in AI, A, EE & GE3 (→GE4)

 in FE (→GE1→GE2)
..

 appearing under the part of the L.H. in FE (→GE1→GE2) is an evident error, corrected in EE and later GE,s.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , GE revisions

b. 36-37

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

..

The deceleration preparing the return of the main theme of the Etude (the indications poco rall. and a tempo) is not marked in AI.

category imprint: Differences between sources; Corrections & alterations

b. 37-50

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

..

In bars 37-50 in AI there are no performance indications, as a result of which we do not consider this version as an alternative to the remaining sources and we do not discuss it in detailed notes. Similarly in subsequent bars until the end of the Etude.

category imprint: Differences between sources

b. 48

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

No marking in AI & A

 in FE (→GE,EE)
..

 was added by Chopin during a proofreading of FE. Similarly in bar 56.

category imprint: Differences between sources

issues: Authentic corrections of FE