mUltimate Chopin

Op. 10 No 9, Etude in F minor

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b. 49-50

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

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In AI the part of the L.H. in bars 49-50 is not written out or suggested in any way (similarly in bars 51-63). It is a proof of an increasing draft nature of this manuscript from the middle of the Etude.

category imprint: Differences between sources

issues: Incomplete sources

b. 50

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

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In A (→FE→EE3) there is no  before the 9th semiquaver of the bar (g1). This patent inaccuracy was corrected in GE and EE4.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions

b. 51-63

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

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In AI all this fragment (from bar 49 on) is written without the part of the L.H. It undoubtedly means the use of figures which are similar to the previous ones to such an extent that the composer considered further notes in this respect to be superfluous. In bars 57-63 one can presume the use of the pattern written in bar 64, yet in the previous bars there are no indications on which possible additions could be based.

category imprint: Differences between sources

issues: Incomplete sources

b. 52

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

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Lack of the  raising d1 to d1 is a patent inaccuracy of the notation of A (→FE→EE3). The sign was added in GE and EE4.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions

b. 65

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

Semiquavers in AI

Rest in A (→FE→GE,EE)
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Initially, the version of AI was also written in A, where Chopin then deleted it (erased) and replaced with the final text, repeated by FE (→GE,EE).

category imprint: Differences between sources; Corrections & alterations