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Op. 25 No 10, Etude in B minor

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Issues : GE revisions

b. 113

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

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In GC (→GE1) and EE, there are no accidentals before the crotchets, so they should read as c and c2. In spite of the fact that the version does not raise any doubts as far as the sound is concerned, the omission of the naturals is proved by:

  • the logic of harmony – this and the previous triplet create an abbreviated version of the motif used in the progression in bars 109-112. In this abbreviated version it is then repeated twice in the further part of bars 113-114. There is no reason to resign from the semi-tone movement of crotchets filling the octaves in one place only;
  • misleading chromatic orthography – change from d to c despite preserving regular notation of the octaves in the F minor key;
  • signs added – probably by Chopin – in the proofreading of FE.

category imprint: Interpretations within context; Differences between sources

issues: Errors in EE , Errors in GE , GE revisions , Omission of current key accidentals , Authentic corrections of FE , Errors of GC

b. 114

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

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We add cautionary naturals before the d notes at the beginning of the bar after GE2 (→GE3).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 116

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

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There are no accidentals before the last octave in the R.H. in GC and EE1 (→EE2). Chopin added the overlooked naturals in the proofreading of FE, they are also in GE and EE3.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Authentic corrections of FE