mUltimate Chopin

Op. 25 No 11, Etude in A minor

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 57

composition: Op. 25 No 11, Etude in A minor

Fingering digit in FED

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 58

composition: Op. 25 No 11, Etude in A minor

No fingering in GC (→GE) & EE1

Fingering in FE

Fingering in EE2 (→EE3)
..

The fingering of FE could have been added by Chopin in the base text to this edition or at the time of proofreading. It was repeated and completed in EE2 (→EE3).

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Authentic corrections of FE

b. 58

composition: Op. 25 No 11, Etude in A minor

..

Before the 5th semiquaver there is no  in GC and FE. This patent inaccuracy of Chopin was corrected in GE. EE also includes the correct text. 

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , Inaccuracies in FE , GE revisions , Inaccuracies in GC

b. 59

composition: Op. 25 No 11, Etude in A minor

No grace note in GC (→GE) & EE1

Grace note in FE & EE2 (→EE3)
..

The E1 grace note was added by Chopin in the proofreading of FE – the way of planning out the notes in this line does not prove there was no place intended for this note. This incontestable improvement was introduced also in EE2 (→EE3).

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE

b. 59

composition: Op. 25 No 11, Etude in A minor

..

In the sources – except for GE2 (→GE3) – there are no accidentals before the c2 and c3 notes (in bar 60). One can wonder whether it is an inaccuracy, so frequently encountered in Chopin's notation, consisting in omission of accidentals at repetitions of figurations in different octaves – in this case sharps raising these notes to c2 and c3. According to us, while c1 still refers to the A major key, prevailing in the two previous bars, bars 59-60, based on the E9> chord, are already maintained in the A minor key, which would make the use of c2 and c3 notes obvious. We are dealing with a similar situation in Barcarolle, Op. 60, bar 110, where at the beginning of the turn, Chopin used c1 among the notes surrounding the e-b-d chord, yet further he used already c2, c3 and c4. 

category imprint: Differences between sources; Editorial revisions

issues: GE revisions