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. 61

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

Long accent in GC

 in FE

> in GE

No accent in EE
..

We preserve the notation of GC, in which the accent (long) is not related to  and it seems to concern the R.H. The notation used in FE was, however, used by Chopin, hence it can be authentic. The short accent in GE is an inaccuracy resulting from the fact that the sign of the long accent did not belong to the set of standard music indications and each time it was interpreted either as a common accent or as diminuendo.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 61

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

Two digits in GC (→GE)

Three digits in FE & EE2 (→EE3)

No fingering in EE1
..

Less accurate indications of fingering in GC (→GE) may be explained with the copyist's inattention or Chopin's completing the indications in the base text or proofreading of FE. The fingering in EE2 (→EE3) was almost certainly repeated after FE.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 61-62

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

..

Chopin added cautionary naturals before b in bar 61 and d1 in bar 62 in GC (→GE1); they were added in EE3 too). The second one of them was omitted in GE2, yet returned in GE3. The natural before f1 at the end of bar 61 is an addition, introduced most probably at the time of proofreading of FE. None of these signs are present in EE1 (→EE2).
All sources repeated  before g3 at the beginning of the 4th group of semiquavers in bar 61, while in GC (→GE) and EE also before g in the L.H. EE added also a  before the next g, most probably due to g3 in the R.H. 

category imprint: Differences between sources; Corrections & alterations

issues: Cautionary accidentals , Authentic corrections of FE , Authentic corrections in GC

b. 62

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

No fingering in GC (→GE) & EE

Fingering in FE
..

In the main text we include the unobvious fingering of FE. Its authenticity does not raise any doubts.

category imprint: Differences between sources

b. 62

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

No marks in GC (→GE1)

Wedge in FE

Wedges in EE & GE2 (→GE3)
..

Lack of the staccato signs in GC (→GE1) may be a result of the copyist's inattention. The wedges in GE2 (→GE3) were most probably added by analogy to bar 64. Lack of wedge in the L.H. in FE – unless it is a common oversight – does not mean that the quaver in the L.H. is to be performed differently than the one in the R.H. In this kind of homogeneous texture, Chopin did not always use to mark the articulation of the L.H. separately.

category imprint: Differences between sources

issues: GE revisions