mUltimate Chopin

Op. 25 No 10, Etude in B minor

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b. 80

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

Quaver b in GC (→GE) & EE1

Crotchet d1 in FE & EE2

Crotchet & quaver in EE3
..

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Authentic corrections of FE

b. 80

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

..

In GC (→GE), EE1 and EE3 the last quaver is a b-b1 octave.

category imprint: Differences between sources

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. 93

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

GC (→GE1)

FE & GE2 (→GE3)

EE

Our suggestion
..

According to us, the value of the dotted minim, with which the b1 note is provided in GC (→GE1), is not a mistake – the note can be considered as belonging to two voices: melodic, led in octaves, and accompanying, creating the whole-bar-long filling of the octave melody together with e1. The notation used by Chopin can be, however, misleading (the sum of the rhythmic values of the top voice gives 4 crotchets), therefore, in the main text we suggest its modified version, in which we use the authentic graphical layout of FE. The version of EE may be a result of revision of such notation as in GC.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 95-98

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

F repeated in bars 96 & 98 in GC (→GE) & EE3

F tied in bars 94-99 in FE

F repeated in bar 98 in EE1 (→EE2)
..

It is hard to state how the difference between the sources was created, as the traces of corrections are to be seen neither in GC nor in FE. Due to the fact that no source features a tie sustaining F in bars 93-94, we have to assume that Chopin took into consideration the fading piano sound and the need to repeat the pedal note. On the other hand, the similarity of the bars is conducive to mistakes, hence the authenticity of all sources is not entirely certain. In the main text we give the version of the base text, i.e. GC.

category imprint: Differences between sources