mUltimate Chopin

Op. 10 No 4, Etude in C♯ minor

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b. 7-8

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

No ties in AI

Ties in FE (→GE,EE)
..

The chords with repeated d2 and d1 notes are undoubtedly an earlier version of this place. The corrections of AI suggest that originally the first pair of chords had also c2 notes on the 2nd beat and b1 on the 3rd beat, which excluded the hold (if the d2 notes were present in this version at all).

category imprint: Differences between sources; Corrections & alterations

b. 8

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

No fingering in AI & FE (→GE)

Fingering in EE
..

The fingering of EE is an addition by Fontana.

category imprint: Differences between sources

issues: EE revisions

b. 8

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

No marking in AI

 in FE (→GE,EE)

 suggested by the editors
..

According to us, the  combination, very rarely used by Chopin, is most probably an inaccurately reproduced   mark, which was used by Chopin on a number of occasions (e.g., in the autograph of the Etude in E major, No. 11, bars 17-25). Cf. bar 1.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Inaccuracies in FE

b. 8

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

Slur in AI

Slurs in FE (→GE,EE)
..

The random slurring of AI is simply a reflection of the working nature of this autograph. In the main text we give more detailed indications of FE (→GE,EE). Cf. the note on the rhythmic notation.

category imprint: Differences between sources; Corrections & alterations

b. 8

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

..

The bottom voice is not marked in AI, which must be considered as a feature of a still immature notation and perhaps also a performance concept. It can be indicated by other dynamic indications – cf. notes in bars 7 and 8.

category imprint: Differences between sources; Corrections & alterations