mUltimate Chopin

Op. 10 No 10, Etude in A♭ major

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Issues : Authentic corrections of FE

b. 1

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

 in A

No marking in FE (→GE,EE)
..

Omission of the  mark written in A may be considered as an ordinary error of the engraver of FE (→GE,EE). However, the consequence with which each mark indicating or strengthening the forte dynamics in the first 16 bars of the Etude (the first  appears together with the new key in bar 17) suggests a possibility of them being removed by Chopin or at least his acceptance of their absence. In this case in the main text we leave the version of editions without determining the starting level of dynamics for bars 1-8. Cf. notes to bars 8 and 16. 

category imprint: Differences between sources

issues: No initial dynamic marking , Authentic corrections of FE

b. 1-4

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

Fingering in A

FE
 

EE
..

In the main text we give the fingering of A concerning the 2nd, 3rd and 4th quavers in bar 1 (it was also reproduced in FE and EE) and the fingering numeral over the 9th quaver, added in a proofreading of FE (→GE,EE). The authenticity of these indications is beyond any doubt, contrary to the limited, yet resulting in the same effect notation of GE and the notation of EE, completed by Fontana. See also the previous note.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Errors in GE , Authentic corrections of FE

b. 1

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

in A

in FE (→GE,EE)
..

While proofreading FE (→GE,EE), Chopin slightly reduced the Etude's tempo. Cf. changes of a similar nature in the Etudes in F, No. 8 and in F minor, No. 9.

category imprint: Differences between sources

issues: Metronome tempos , Authentic corrections of FE

b. 1-4

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

Accents in A

FE (→GE,EE)
..

While proofreading FE (→GE,EE), Chopin clearly changed the accentuation scheme of these bars. The accents on every sixth quaver, together with a natural support on strong beats of the bar, determine triple beat corresponding to the time signature. Therefore, the removal of two out of three accents written in A eliminated the divergence between the double accentuation and triple beams (see also the note on slurs in bars 1-2). Moreover, the reduced accents – two instead of six in each bar – transform themselves from a generally technical hint into a part of the phrase's shaping. Chopin introduced analogous changes also in bars 17-20. Cf. bars 4 and 5-8.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 1

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

Crotchet in A

Quaver in FE (→GE,EE)
..

A crotchet as the rhythmic value of the upbeat in A could have been related to the original accentuation of bars 1-4, determining the crotchet beat. Moreover, it cannot be excluded that Chopin had in mind a dotted crotchet – cf. minims in the L.H. in bars 1-3 and 5-6, as well as crotchets in bars 4 and 7). In each case a quaver flag in FE (→GE,EE) was probably added by Chopin, therefore we adopt the version with the quaver to the main text (in FE an uncorrected crotchet rest was left in the L.H., which was corrected in GE and EE).

category imprint: Differences between sources

issues: Errors in FE , Errors resulting from corrections , Authentic corrections of FE