b. 4
|
composition: Op. 10 No 9, Etude in F minor
category imprint: Differences between sources |
|||||||
b. 4
|
composition: Op. 10 No 9, Etude in F minor
..
Omission of in FE (→GE,EE) is rather a result of the engraver's distraction than Chopin's proofreading. The composer, who in two other places in the Etude – in bar 48 and 56 – added when proofreading FE, could have accepted the lack of this indication. Therefore, we suggest a variant solution. category imprint: Differences between sources issues: Errors in FE |
|||||||
b. 4
|
composition: Op. 10 No 8, Etude in F major
..
In GE the d note was provided with a wedge, probably by analogy to bar 2. category imprint: Differences between sources issues: GE revisions |
|||||||
b. 4-6
|
composition: Op. 10 No 8, Etude in F major
..
In the main text we give the fingering of the L.H., written by Chopin in A. In FE (→GE) the '3' digit was overlooked in bar 5, which is almost certainly an oversight. In EE Fontana completed the fingering at the beginning of bar 5, adding digits for each note. EE3 erroneously features '2' as the 1st digit in bar 4 (it may be a mistake related to the transcription of the "continental" fingering system to the "British" one – cf. General Editorial Principles, p. 10). category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , Errors in EE |
|||||||
b. 4-8
|
composition: Op. 10 No 8, Etude in F major
..
Two digits written in A in bar 4 are generally enough to decipher Chopin's fingering in bars 1-8. While proofreading FE (→GE,EE), Chopin completed the hints so that each of the finger arrangements used in these bars included the written out precise fingering at least once. We give this fingering in the main text. In EE, Fontana additionally expanded the indications drawn from FE. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |