EE2 - First English edition
| Publisher: | Wessel & Co. |
| Date: | 1835-1836 |
| Title: | Douze Grandes Etudes || No. IV |
| Dedication: | ses amis J. Liszt et Ferd. Hiller |
In the first English edition, the entire Op. 10 is divided into two books, six Etudes each, while EE2 is the earliest known impression of the first book. As it is uncertain whether the text of the previous impressions differed from the text of the presented copy, on the basis of the current state of the preserved sources, we refer to EE2 as the first English edition (see the Etude in C major, No. 1).
EE2 generally reproduces the text of FE1, however, it is not free from errors and inaccuracies, e.g.: accents in bars 3, 7, 16, 18, 39, sharps raising b to b
in bar 11 and b1 to b1 in bar 68, 
in bar 15 and both accidentals in the R.H. in bar 23 were overlooked. In this Etude, positive changes were also introduced, e.g.: was added before the bottom note of the octave in bar 47. It remains open whether the small number of corrections of clear errors (which, after all, concern only selected aspects of notation) justify EE2 to be called a "New & revised edition," as the title page says. According to us, it is the other explanation that is more likely:
- The quoted information on the cover in fact concerns EE3, which actually includes both corrections of errors of EE2 and certain arbitrary additions.
-
At the time of preparing the new corrected impression (EE3), the editor had still a few copies of EE2 to his disposal. Due to the fact that he did not want to forgo their sales, he introduced to them the most significant corrections by hand and offered them to his clients with a changed title page. Such corrections, probably written in quill pen, visible in the copy of EE2 being at display in mUltimate Chopin include both corrections of numerous engraver's oversights enumerated above and a number of other additions introduced in EE3 (e.g., slurs in the L.H. in bars 4-5, 7 or
and 
in bar 12). The second known copy (from the collection of the British Library) also includes similar annotations, although less numerous.
If the above hypothesis proves to be right, the presented copy would date back to the preparation stage of EE3, i.e. 1835-1836.
The fingering added by Fontana includes additions to Chopin's fingering (in total in 52 bars), generally following from Chopin's indications, although sometimes disputable, see the note to bar 1.
The pencilled annotations visible in the presented copy are of no source value.
| Original in: | Royal Academy of Music, London |
| Shelf-mark: | 4 Chopin 10 (1) |