mUltimate Chopin

Op. 25 No 10, Etude in B minor

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Articulation, Accents, Hairpins

b. 20

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

 below L.H. part in GC (→GE1) & EE

No sign in FE

 between staves in GE2 (→GE3)
..

When adding the  sign, Chopin probably omitted the base text to FE (see bars 15-16). The placement of the sign under the bottom stave could have resulted from the will to connect crescendo with the progression in the L.H. or due to lack of space between the staves. In the case of the latter, shifting the sign in GE2 (→GE3) would have been justified.

category imprint: Differences between sources; Corrections & alterations

issues: GE revisions , Authentic corrections in GC

b. 20

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

Accent in GC (→GE) & EE

No mark in FE
..

Same as in the case of the remaining signs in bars 15-20, the missing accent in FE is probably Chopin's oversight. The sign in GC and EE is clearly shorter than the previous ones.

category imprint: Differences between sources

issues: Authentic corrections in GC

b. 21

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

Four accents in GC (→GE) & EE

Four  in FE
..

category imprint: Differences between sources

issues: Authentic corrections in GC

b. 24-25

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

Two long accents in GC

No marks in FE

Short accents in EE & GE
..

In the main text we give differentiated accents, written most probably with Chopin's hand in GC. GE reproduced all of them as short ones, EE too. 

category imprint: Differences between sources

issues: Long accents , Inaccuracies in GE , Authentic corrections in GC

b. 47

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

Long accent in GC (→GE1)

Long accent in FE

Short accent in EE

 in GE2 (→GE3)
..

Possible doubts concerning the type and placement of the accent are dissipated by the sign written – probably by Chopin – in analogous bar 67.

category imprint: Differences between sources

issues: Long accents , GE revisions