Issues : EE revisions
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b. 1-3
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composition: Op. 10 No 8, Etude in F major
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Three digits defining the fingering of the first passages of the Etude (based on one finger arrangement) were added by Chopin in a proofreading of FE (→GE,EE). In EE, Fontana added to them a number of next ones, developing the composer's hints, specifying, e.g., the places of crossing under of the 1st finger. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 1
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composition: Op. 42, Waltz in A♭ major
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In the main text we give the title in the wording adopted in the headings of FE and GE. There are no doubts that such additions to the title as "grande" in FE and EE or "nouvelle" on the title page of FE were introduced for marketing purposes and on the initiative of the editors (sometimes perhaps also upon Chopin's consent). The Waltz published in Pacini's publishing house (FE) appeared as a part of a bigger album, "Cent-Et-Un" and was given a subsequent number – 68. As a result of this, the numbering of pages is continued: it starts with page 408 and ends with page 415. The title of Pacini's album was also used by the English editor, Wessel, undoubtedly for the purpose of advertising and trading, adding to the Waltz in EE the indication "Cent-et-Un." category imprint: Differences between sources issues: EE revisions , Various titles , FE revisions |
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b. 1
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composition: Op. 10 No 10, Etude in A♭ major
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In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and dedication (in EE) most probably come from the editors. See Etude in C, No. 1, bar 1. category imprint: Differences between sources issues: EE revisions , Errors in FE , Dedications , GE revisions |
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b. 1-4
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composition: Op. 10 No 10, Etude in A♭ major
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In the main text we give the fingering of A concerning the 2nd, 3rd and 4th quavers in bar 1 (it was also reproduced in FE and EE) and the fingering numeral over the 9th quaver, added in a proofreading of FE (→GE,EE). The authenticity of these indications is beyond any doubt, contrary to the limited, yet resulting in the same effect notation of GE and the notation of EE, completed by Fontana. See also the previous note. category imprint: Differences between sources issues: EE revisions , Errors in FE , Errors in GE , Authentic corrections of FE |
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b. 1-2
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composition: Op. 10 No 10, Etude in A♭ major
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It is unclear how to treat the short, two-quaver-long slurs visible in the sources. They do not raise any doubts in A, in which they are compatible with the accents over each sixth. However, after removal of the majority of accents in a proofreading of FE (→GE,EE), the slurs seem not to correspond to the new accentuation. The fact of leaving them could have been a compromise, whose aim was to avoid an additional, significant complication of a proofreading. On the other hand, it cannot be excluded that Chopin removed the accents in order not to change their layout, but to avoid exaggeration resulting from double indications. Therefore, having no absolute certainty of Chopin's intention, we suggest a version without slurs as a recommended alternative to the main text from A (→FE). category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
