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Op. 25 No 10, Etude in B minor

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b. 86

composition: Op. 25 No 10, Etude in B minor

 in GC (→GE1), FE & EE

 in GE2 (→GE3)
..

In the main text we suggest – after GE2 (→GE3) – the solutions adopted in analogous bars 46 and 66. Lack of additions in bars 85 and 87 proves that by correcting and completing the Stichvorlage manuscripts, Chopin omitted, probably by distraction, the third appearance of this fragment.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 87

composition: Op. 25 No 10, Etude in B minor

No ornament in GC (→GE1), FE & EE

 in GE2 (→GE3)

[] suggested by the editors
..

Lack of the grace note is probably a result of Chopin's oversight – both in this and the previous bars a few elements, added by Chopin in analogous bars 47 and 67, e.g., rit. and an accent, are missing. Therefore, in the main text we suggest adding an ornament (in the form of non-slashed grace note) and cautionary sharps before the grace note and d3. A similar change was introduced in GE2 (→GE3).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Omitted correction of an analogous place

b. 87

composition: Op. 25 No 10, Etude in B minor

No mark in sources

[] suggested by the editors
..

In the main text we suggest adding an accent after the previous analogous bars, in which Chopin included it in all (bar 47) or certain sources (GC in bar 67).

category imprint: Editorial revisions

b. 87-89

composition: Op. 25 No 10, Etude in B minor

No indication in GC (→GE) & EE

in FE
..

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 90-98

composition: Op. 25 No 10, Etude in B minor

..

The sources include sharps before all a and a1 notes (except for a1 in bar 95 in GC, GE and FE and in bar 96 in EE). It seems that in this transitory fragment, preparing the return of the B minor key and, de facto, already maintained in it, both keys – B major and B minor – overlapped in Chopin's mind. Perhaps it also had to do with Chopin's general uncertainty concerning the validity of the last key signature (cf. the note to the Etude in G minor, No. 6, bars 7-8). 

category imprint: Editorial revisions

issues: Cautionary accidentals