Issues : GE revisions
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b. 1-2
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composition: Op. 29, Impromptu in A♭ major
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In GE a change in the tie layout in all analogous places was performed (bars 4-5, 19-21, 83-84, 87-88 and 101-103). A's notation in bars 2, 16, 84, 88 and 101-103 proves that the graphic layout with one quaver tie was developed by Chopin. category imprint: Differences between sources issues: GE revisions |
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b. 1-12
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composition: Op. 39, Scherzo in C♯ minor
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Slurs below the staff in bars 1-4 and 9-12 were added in GE, doubtless by a reviser; the same goes for bars 12-14 and many other places. Such doubling of performance indications is very rarely found in authentic sources. category imprint: Differences between sources issues: GE revisions |
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b. 1
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composition: Op. 10 No 1, Etude in C major
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In the main text we give the title as adopted in FE and confirmed in the engraver's copy of several Etudes (No. 5-8 and 12). The title included in CLI, although earlier, is also authentic – Chopin himself described in this way one of his etudes in a letter to a friend – and reflects Chopin's pragmatic approach to the issue of the pieces' names (cf. the original title of Berceuse Op. 57, "Variants"). Therefore, it is hard to assume that the extended titles of GE and EE were something more than a marketing ploy of the publishers, which, after all, were gladly used also in case of other genres, e.g., in waltzes, in which the authentic titles were extended with different adjectives: 'grande' in Op. 18, 24, 42, 'brillante' in Op. 34, 'nouvelle' in Op. 42 (see also Etudes Op. 25). We also give this dedication in the version of FE (→GE). Its extension in EE seems to be rather an idea of the publisher who, however, could have agreed it with Chopin. Apart from FE1 (→EE2→EE3), the erroneous initial of Liszt's name (J) also appears in some copies of FE2 and GE1. category imprint: Differences between sources issues: EE revisions , Errors in FE , Dedications , GE revisions , Various titles |
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b. 1
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composition: Op. 10 No 2, Etude in A minor
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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 the dedication (in EE) most probably come from the editors. See the Etude in C major, No. 1, bar 1. category imprint: Differences between sources issues: EE revisions , Errors in FE , Dedications , GE revisions , Various titles |
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b. 1
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composition: Op. 10 No 2, Etude in A minor
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The additional fingering, present only in GE, is probably an addition of the reviser, although, being undoubtedly correct, it could have been written by Chopin. Whoever completed it, he probably realised that only the a1-d2 fourth is the first two-note chord, in which there is a real possibility of using other fingers than 1-2. category imprint: Differences between sources issues: GE revisions |
