b. 2-4
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composition: Op. 25 No 4, Etude in A minor
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The pair of hairpins must have been added by Chopin in FC and base text to EE. Nothing indicates that Chopin could have wanted to resign from these indications – their absence in A (→FE) is almost certainly a result of haste and insufficient attention at the time of parallelly introducing corrections and additions in three Stichvorlage manuscripts. Similarly in bars 6-8. category imprint: Differences between sources issues: Scope of dynamic hairpins , GE revisions , Authentic corrections of FC |
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b. 2-3
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composition: Op. 25 No 6, Etude in G♯ minor
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In FC the part of the R.H. is written in these bars in an abbreviated manner – with the help of •/• signs – as repetition of bar 1. category imprint: Differences between sources issues: Abbreviated notation of A |
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b. 2-6
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composition: Op. 25 No 8, Etude in D♭ major
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We add cautionary flats before the 2nd sixth in bars 2 and 6. category imprint: Editorial revisions |
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b. 2-4
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composition: Op. 25 No 5, Etude in E minor
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The subsequent GE added cautionary naturals in these bars – already in GE1 before the second g2 in bar 3, in GE2 before d in bar 4, in GE3 before a1 in bar 2. The sign in bar 3 was added in EE3 too. According to us, all signs are justified and we adopt them to the main text. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 2-4
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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Staccato dots at the beginning of bars 2 and 4 consist the most glaring example of German engraver's misrepresenting wedges in GC – the difference between wedges there and dots in neighbouring bars 1, 3 & 5-7 is very distinct. GE did not use any wedges in the whole Sonata. The lack of signs in EE is most probably an oversight. category imprint: Differences between sources issues: Inaccuracies in GE , Errors in EE , Wedges |