mUltimate Chopin

Op. 25 No 11, Etude in A minor

Text Compare Notes Sources Description

Issues : EE revisions

b. 8

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

 in GC

No sign in FE

 in EE

 in GE1

 in GE2 (→GE3)
..

The range and placement of the  sign in EE may be authentic. In turn, the gradually extended hairpins in GE are certainly a result of routine action of the engraver or reviser of this edition. Lack of the sign in FE is probably Chopin's oversight – see the note on dim. 

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 9-10

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

in bar 9 in GC (→GE)

No indication in FE

in bars 9-10 in EE
..

The marcato indication in GC is written by the copyist, which, considering the absence of indication in FE, probably means that Chopin wrote it in the base text to EE. It is, however, not so obvious in the case of repetition of this indication in EE in bar 10, as it is not included in any of the sources. Therefore, in the main text we give only the first of them.

category imprint: Differences between sources

issues: EE revisions

b. 10-12

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

No fingering in GC (→GE) & EE1

Fingering in bars 10-11 in FE

Fingering in bars 10-12 in EE2 (→EE3)
..

Four fingering numerals in FE is most probably a result of Chopin proofreading of this edition. The significantly more abundant fingering of EE2 (→EE3) develops Chopin indications adopted from FE.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Authentic corrections of FE

b. 11

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

..

In the 2nd half of the bar, the only accidental in the part of the R.H. in GC, FE and EE1 is a  raising d3 to d3. The notation, although inaccurate, determines also the sound of the 6th and 10th semiquavers in the 2nd half of the bar as d2 and d1. In turn, nothing indicates raising the 3rd, 7th and 11th semiquavers, which, in this situation, should read f3, f2 and f1. This version, however, is impossible in this melodic and harmonic context – the use of g as delay of the fifth of the B7 chord requires f (possibly f) as resolution. The sharps raising the discussed notes to f3, f2 and f1 were added in GE and later EE (in EE2 without  before the 11th semiquaver). Cf. bar 75.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

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

b. 12

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

..

In GC and FE there is no  raising g1 to g1. This patent oversight was corrected in GE and EE. Similarly in bar 76.

category imprint: Interpretations within context; Differences between sources

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