Issues : GE revisions

b. 1

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

in AI

in FE1

in FE2

in GE1

GE1a (→GE2GE3GE4GE5)

in EE2 (→EE3)

in EE4

..

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

b. 3

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

No sign in AI & FE (→EE2EE3)

Arpeggio sign in GE & EE4

..

Lack of the arpeggio mark in FE (→EE2EE3) 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

b. 11

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

..

We add a cautionary  before b2. The sign was already introduced in GE2 (→GE3GE4GE5) and EE4.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 11

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

No signs in AI & FE (→GE1,EE2)

Three arpeggio signs in GE1a (→GE2GE3GE4GE5) & EE4

Arpeggio sign in EE3

..

According to us, arpeggio performance of the tenth chords stands beyond any doubt – it is proved by Chopin sign in bar 3, left almost certainly as a general indication concerning all analogous situations.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 11

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

No mark in AI & FE (→EE2,GE1GE1aGE2GE3)

Long accent in EE3 (→EE4)

Short accent in GE4 (→GE5)

Long accent suggested by the editors

..

We suggest to add an accent after the sign in analogous bar 61. In similar contexts, the crotchets at the end of bar are always accentuated – cf. bars 16, 18, 20, 22 and 25-26. The addition – probably on the same basis – was introduced already in EE3 (→EE4) and GE4 (→GE5).

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions