mUltimate Chopin

Op. 10 No 4, Etude in C♯ minor

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b. 49

composition: Op. 10 No 4, Etude in C♯ minor

..

In AI this bar is briefly marked as repetition of the previous one, while in the part of the R.H. there is a last, different group of semiquavers.

category imprint: Differences between sources

issues: Abbreviated notation of A

b. 50

composition: Op. 10 No 4, Etude in C♯ minor

Rest in AI

Semiquavers in FE (→GE,EE)
..

Chopin most probably added the semiquavers referring to the beginning of the Etude still in [A]. See also the change at the beginning of bar 51.

category imprint: Differences between sources; Corrections & alterations

b. 50

composition: Op. 10 No 4, Etude in C♯ minor

..

In the last group of semiquavers, in the place where FE (→GE,EE) has a b1, in AI there is a c2. By introducing this clearly justified correction, Chopin did not check its result precisely – in FE (→GE1→GE1a,EE) there is no  before c2, still necessary despite the change of the previous note from c2 to  b1. This patent oversight was corrected in GE2 (→GE3→GE4→GE5).  

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Errors in FE , Omissions to cancel alteration , GE revisions , Enharmonic corrections

b. 51

composition: Op. 10 No 4, Etude in C♯ minor

No fingering in AI & FE (→GE)

Fingering in EE
..

The fingering in EE was added by Fontana.

category imprint: Differences between sources

issues: EE revisions

b. 51

composition: Op. 10 No 4, Etude in C♯ minor

in AI

No marking in FE (→GE,EE)
..

One can ponder whether the  mark written in AI could be applied in the clearly changed version of FE (→GE,EE). According to us, it cannot be excluded, yet in the main text we leave the version of the editions without additions.

category imprint: Differences between sources