mUltimate Chopin

Op. 10 No 10, Etude in A♭ major

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b. 43

composition: Op. 10 No 10, Etude in A♭ major

 in A

FE (→GE,EE)
..

In the main text we give  there, where Chopin wrote it in A, as emphasising the appearance of a figuration based on a new, dissonating chord seems to be justified. However, the interpretation adopted in the editions does not have to be erroneous, as Chopin would often use the notation in which such placed dynamic mark is binding from the beginning of the bar, cf., e.g., the Etude in C major, No. 1 bar 45.

category imprint: Differences between sources

issues: Inaccuracies in FE , Centrally placed marks

b. 44-45

composition: Op. 10 No 10, Etude in A♭ major

Fifth in A

Triad in FE (→GE,EE)
..

The version of FE (→GE,EE) is undoubtedly a result of Chopin's proofreading. In an analogous place at the beginning of the previous bar, in A there are traces of deleting the g note, hence one can speak of Chopin's hesitation.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Authentic corrections of FE

b. 45-46

composition: Op. 10 No 10, Etude in A♭ major

No fingering in A (→FE→GE)

Fingering in EE
..

Chopin's fingering given in the main text in bar 45 was completed by Fontana in EE with additional indications in this and the next bar. The additions, obvious from the pianistic point of view, include also bar 47.

category imprint: Differences between sources

issues: EE revisions

b. 47

composition: Op. 10 No 10, Etude in A♭ major

No fingering in A (→FE→GE)

Fingering in EE
..

category imprint: Differences between sources

issues: EE revisions

b. 49

composition: Op. 10 No 10, Etude in A♭ major

No sign in A

 in FE (→GE,EE)
..

In A the pedalling ends on the  mark at the beginning of this bar. The  mark added in FE (→GE,EE) is probably a result of Chopin's proofreading.

category imprint: Differences between sources

issues: Authentic corrections of FE , No pedal release mark