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b. 24
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composition: Op. 25 No 5, Etude in E minor
category imprint: Interpretations within context; Editorial revisions issues: Long accents |
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b. 24-25
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composition: Op. 25 No 5, Etude in E minor category imprint: Differences between sources issues: EE revisions |
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b. 25-28
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composition: Op. 25 No 5, Etude in E minor
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According to us, the differences in the range of the dynamic hairpins are of an accidental character – Chopin probably would introduce them in a haste, whereas the copyists and the engravers could have reproduced them in an inaccurate manner. All versions mean more or less the same. In the main text we give the signs of FE. category imprint: Differences between sources issues: Scope of dynamic hairpins |
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b. 27
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composition: Op. 25 No 5, Etude in E minor
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In this type of context, the moment of the pedal's release is quite often indicated by Chopin in different places (or is not indicated at all), which probably means that he was thinking of a gradual attenuation of sound (the so-called diminuendo pedal). In the main text we give the sign on the basis of FE. category imprint: Differences between sources |
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b. 29-36
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composition: Op. 25 No 5, Etude in E minor
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The absence of slurs over the entire eight-bar section can be the original version, left by inaccuracy – initially, Chopin could have considered this change of notation to be a sufficient signal of the change of the theme's articulation. category imprint: Differences between sources |
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