mUltimate Chopin

Op. 10 No 10, Etude in A♭ major

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b. 52-53

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

Tie in A, GE & EE

No tie in FE
..

Same as in bars 50-51, we consider the omission of the tie by the engraver of FE to be more plausible than Chopin's possible proofreading of FE. However, in this place a tie was added both in GE and EE.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , GE revisions

b. 53

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

..

In FE (→EE) the double flat was erroneously placed before the bottom note of the third. However, this patent inaccuracy was corrected only in GE.

category imprint: Differences between sources

issues: Errors in FE , GE revisions

b. 54-55

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

No fingering in A (→FE→GE)

Fingering in EE
..

In bar 54 Fontana carefully fingered the entire passage of the L.H., in a way which was probably in Chopin's mind (which results from the natural position of the hand). In turn, in bar 55 he gave fingering of the figuration which differs from the one from bars 1-2 only in the bass notes, which does not have any influence on the fingering. See also the note on the R.H.

category imprint: Differences between sources

issues: EE revisions

b. 54

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

  in A & GE2 (→GE3→GE4)

 in FE (→GE1) 

No markings in EE
..

Omission of the  mark in FE (→GE1,EE) and the  mark in EE is probably a result of the engravers' oversights. The pedal release asterisk was added – according to the harmonic sense – in GE2 (→GE3→GE4).

category imprint: Differences between sources

issues: Errors in FE , Errors in EE , GE revisions

b. 55

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

No fingering in A (→FE→GE)

Fingering in EE
..

While completing the fingering in EE, Fontana generally repeated his indications from bar 1, modeled on the ones by Chopin.

category imprint: Differences between sources

issues: EE revisions