Issues : Deletions in A
b. 1
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composition: Op. 29, Impromptu in A♭ major
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In A Chopin deleted the abbreviated performance indication m.v. (= mezza voce) category imprint: Corrections & alterations issues: No initial dynamic marking , Deletions in A |
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b. 1
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composition: Op. 29, Impromptu in A♭ major
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In A the sign above the 4th quaver in the L.H. is deleted - it is probably an accent, although it could also have been the head of c1. category imprint: Corrections & alterations issues: Deletions in A |
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b. 1
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composition: Op. 25 No 1, Etude in A♭ major
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In the main text we give the title and dedication in accordance with the title page of the entire opus in A (we develop the Mme and Csse abbreviations used in A) and FE. In A (→GE) and FE, the particular etudes are provided with an additional title, Etude, with a corresponding ordinal number, which we represent through the number preceding the score. In EE, the numbering includes 12 Etudes, Op. 10, hence this etude is No. 13. category imprint: Differences between sources issues: EE revisions , Dedications , GE revisions , Deletions in A |
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b. 1-2
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composition: Op. 25 No 1, Etude in A♭ major
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category imprint: Differences between sources; Corrections & alterations issues: Deletions in A |
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b. 1-2
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composition: Op. 25 No 1, Etude in A♭ major
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The long accent under f2 at the beginning of bar 2 in #AW is the original concept of dynamic markings in these bars. In A one can see that Chopin rejected the accent (placed above this note) in favour of a pair of hairpins. The hairpins were incorrectly reproduced in GE1 (→GE1a), yet only the fact of beginning diminuendo in GE2 (→GE3) from the beginning of bar 2 may be considered as a quite significant change. In FE and EE, diminuendo immediately follows crescendo. In the main text we reproduce the signs of A, the only ones written undoubtedly by Chopin's hand. category imprint: Differences between sources; Corrections & alterations issues: Long accents , Inaccuracies in GE , GE revisions , Deletions in A |