mUltimate Chopin

Op. 10 No 4, Etude in C♯ minor

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b. 51

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

Octave &  in AI

Octave staccato

Single note in FE (→GE,EE)
..

In AI, the return of the initial theme of the Etude was emphasised with an octave,  and pedal. In the version prepared for print, Chopin changed the concept, replacing the "strong attack" with a more distinct motivic allusion to the beginning of the piece.

category imprint: Differences between sources; Corrections & alterations

b. 51

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

..

The only pedalling mark written in AI is clearly related to the abandoned by Chopin concept of the initial theme's return, which started with the C1-C octave. See the adjacent note. 

category imprint: Differences between sources

issues: No pedal release mark

b. 53

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

in AI

in FE (→GE,EE)
..

Same as in bar 3, the version of AI had to be also in [A], as there are visible traces of its deletion in FE. Similarly in bars 11 and 61.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 53

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

 

Crotchet in FE (→EE)
..

In the main text we give the rhythm of FE (→EE), which probably represents the latest intention of Chopin, written in [A] or introduced in a proofreading of FE. The composer could have wanted to reinforce the return of the initial fragment of the piece (cf. the note on the accent). The dynamic and rhythmic motif of the last accentuated crotchet of the bar is one of the most characteristic sound phenomena of the Etude.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 53

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

No mark in AI

Long accent in FE

 hairpin in GE

Long accent in EE
..

We interpret the mark in FE as long accent. This is how it was also interpreted in EE, in which the accent was slightly moved in the direction of the part of the R.H., which, according to us, probably better reproduces Chopin's original notation. In GE1 the sign was interpreted as diminuendo hairpins, while in GE2 it was additionally extended, so it embraces the entire group of semiquavers.

category imprint: Differences between sources

issues: Long accents