Issues : EE revisions
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b. 1
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composition: Op. 10 No 4, Etude in C♯ minor
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Chopin did not write the title of the piece in AI, although it is hard to believe that in August 1832, at the stage of completing the entire Op. 10, he could have even considered naming it differently than Etude. The conviction is not hampered by the fact that at the end of the editorial autograph of the Etude in E major, No. 3, Chopin uses the determination of tempo-character il presto con fuoco for the identification of the subsequent etude in the collection. In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and the dedication (in EE) most probably come from the editors. See the Etude in C major, No. 1, bar 1. category imprint: Differences between sources issues: EE revisions , Errors in FE , Dedications , GE revisions |
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b. 1
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composition: Op. 10 No 4, Etude in C♯ minor
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In the version prepared for print, the first fingering numerals appear not until bar 12. However, during the lessons with Chopin, the indications concerning the fingering proved to be necessary already earlier. In the main text we consider the fingering written by Chopin in FES. In EE Fontana also offered his suggestion for bar 1, yet this fingering, avoiding the use of the 1st finger on black keys, diverts from the one by Chopin. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FES |
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b. 3
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composition: Op. 10 No 4, Etude in C♯ minor
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EE2 omits accents, which was corrected in EE3 (→EE4), by changing the signs in the 2nd half of the bar for vertical accents. category imprint: Differences between sources issues: EE revisions , Errors in EE |
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b. 3
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composition: Op. 10 No 4, Etude in C♯ minor
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Lack of the arpeggio mark in FE (→EE2→EE3) may be explained with the correction of the part of the L.H., performed by Chopin in FE1 (see the adjacent note). Chopin, involved in changes in the structure and content of the chords, probably did not think of careful indication of their performance, considering arpeggios of such a broad chord to be obvious. Similarly in bars 11, 53 and 61. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 4
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composition: Op. 10 No 4, Etude in C♯ minor
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While adding the fingering in EE, Fontana indicated the fingering of the five-note chord at the end of the bar. It suggests that, according to him, striking simultaneously two black keys with the 1st finger was not a generally known grip. category imprint: Differences between sources issues: EE revisions |
