mUltimate Chopin

Op. 10 No 4, Etude in C♯ minor

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Issues : Authentic corrections of FE

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b. 64

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

A-B in AI, FE (→EE2→EE3) & GE5

G-A in GE1 (→GE2→GE3→GE4) & EE4
..

The corrections visible in AI show that G-A was the original version of the ending in all analogous bars (bars 13-14 and 63-64). According to us, it is therefore probable that in bar 64 in [A] Chopin wrote the original version by mistake, which was passed to the review copy of FE and then to GE1 (→GE2→GE3→GE4). The mistake was rectified in finished FE (→EE2→EE3), as well as in GE5. In turn, EE4 introduces – probably under the influence of GE3 – the erroneous version. 

category imprint: Differences between sources; Corrections & alterations

issues: GE revisions , Errors of A , Authentic corrections of FE

b. 75

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

g2 in AI

g2 in FE (→EE)

g2 in GE
..

Lack of the  returning g2 in GE may reveal the fact that the sign was not added until the last proofreading of FE (→EE). The sharp became necessary here due to enharmonic changes in the notation of the previous group.

category imprint: Differences between sources

issues: Errors resulting from corrections , Authentic corrections of FE

b. 75

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

..

In AI the first 3 semiquavers in the 2nd half of the bar are written as f2-g2-f2 in the R.H. and f1-f1-f1 in the L.H. Chopin changed the notation in a proofreading of FE (→GE,EE). However, he left the sharps before f1 and f2 at the beginning of the last semiquaver group, superfluous after the change.

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

issues: Enharmonic corrections , Authentic corrections of FE