mUltimate Chopin

Op. 25 No 11, Etude in A minor

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Verbal indications

b. 83

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

..

In GC the  indication was initially written – with the copyist's hand – further, before the 3rd beat of the bar and under the bottom stave. Chopin moved it before the first f-f1 octave, which we reproduced in the main text.

category imprint: Corrections & alterations; Source & stylistic information

issues: Authentic corrections in GC

b. 87

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

 &  in GC (→GE)

 in FE

 &  in EE
..

GC does not bear traces of corrections in this place, so it is hard to state how the difference between the sources occurred and, as a consequence, what the chronology of the versions was. In the main text we give the indication of the base source, i.e. GC (→GE), however, the version of EE may also be authentic and it is not certain which of them conveys the sense of Chopin's notation in a more accurate manner. See also the notes on accents and the dot.

category imprint: Differences between sources

b. 92

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

in GC & GE2 (→GE3)

No indication in FE, GE1 & EE
..

The marcatissimo indication is written in GC in such a way that it can be combined with the end of the scale in bar 95. Perhaps it was uncertainty concerning the correct placement that was the reason of its omission in GE1 (or maybe also in FE or EE, as the indication in GC is written with the copyist's hand and it had to be in at least one of the remaining Stichvorlage manuscripts).

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

issues: Errors in GE

b. 93

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

 in GC

 in FE

 in GE & EE
..

The sources do not clearly indicate where Chopin wanted to put . In the main text we give the indication on the basis of GC, in which it was Chopin himself that wrote it. It can also be seen that it was a correction – the same indication, written by the copyist slightly lower, was crossed out. The interpretation of both the entry and correction is, however, difficult – we do not know whether the indication should concern the 1st beat of the bar or be valid only from the second one or if it should concern only or more the R.H. or the entire chords. According to us, each of the source versions can be considered to be justified, both graphically and musically. The solution adopted in the main text refers to the more graphically clear situation in bar 83. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Authentic corrections in GC