Issues : Authentic corrections of FE

b. 3

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

in AI

in FE (→GE,EE)

..

The version of AI had to be also in [A], as the traces of its deletion are visible in FE. Similarly in bar 53, as well as in bars 11 and 61. The corrections visible in the discussed bar in AI prove that from the outset Chopin wavered as to the L.H. chords positions.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 8

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

 in AI

4 accents &  in FE (→EE)

3 accents &  in GE

Our alternative suggestion

..

The indications of AI were changed in the version prepared for print, certainly with the participation of Chopin. Therefore, in the main text we give the version of FE (→EE). However, some of its elements can raise certain doubts, particularly the  hairpins and the last accent, overlooked in GE. Therefore, we alternatively suggest a certain interpretation of the notation of FE, based on an assumption of an inaccurate reproduction of Chopin's intention by the engraver.

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

issues: Inaccuracies in FE , Errors in GE , Authentic corrections of FE

b. 11

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

..

Similarly as in bar 3, the original version of AI had to be also in [A], as the traces of deleting the treble and bass clefs – used for its notation – are visible in FE. Chopin introduced analogous changes also while repeating this phrases in bars 53 and 61.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 21-26

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

..

It is hard to determine whether it was Chopin that introduced the change of key marking – in [A] or proofreading FE – or it was a result of the engraver's error. The error is justified with flats before g in bar 24 and g1 in bar 25, apparently added in FE just in print. The notation with five flats is more justified from the point of view of the harmonic flow – the key that dominates from bar 22 to the beginning of bar 25 is B minor. In spite of this, in the main text we give the notation of FE (→GE,EE), as Chopin did not take the opportunity to correct it in a proofreading of FE. Cf. the Etude in A major, No. 10, bars 29-31.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 26

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

g1 in AI & GE

g1 in FE (→EE)

..

AI has a gas the 11th semiquaver, otherwise written with a superfluous . Chopin had to then change it into a g1, which is featured in FE (→EE). The fact of not considering this change in GE – unless it is a common mistake of the engraver – may reveal that it was not introduced until the last proofreading of FE. In GE4 (→GE5) the  was deleted, unnecessary in the version with g(together with the equally superfluous  before a1 on the penultimate semiquaver).  

category imprint: Differences between sources

issues: Errors in GE , Authentic corrections of FE