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b. 4-8
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composition: Op. 10 No 8, Etude in F major
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In A it can be seen that the crotchets in the middle of bars 4 (g) and 8 (f) were originally written as quavers after which relevant rests would follow. category imprint: Corrections & alterations issues: Corrections in A |
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b. 4-6
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composition: Op. 10 No 8, Etude in F major
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In the sources the E1-E octaves at the beginning of bars 4 and 6 are briefly written with the 8 digit. category imprint: Source & stylistic information issues: Abbreviated octaves' notation |
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b. 4
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composition: Op. 10 No 10, Etude in A♭ major
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It is not entirely clear whether FE has two accents in the 2nd half of the bar, as it is in A, or one, as it is in GE or EE. According to us, in the preceding fragment Chopin clearly expressed his intention of leaving only the accents on the 4th and 10th quavers in bars 1-4 and this is the version, clearly reproduced in GE, that we give in the main text. However, the accent in an analogous place of the 2nd eight-bar section (bar 12) may be considered as an argument for two accents in the discussed place in bar 4. The version of EE is probably a result of revision based on the comparison with bar 12. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , Authentic corrections of FE |
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b. 4
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composition: Op. 10 No 10, Etude in A♭ major
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The missing category imprint: Differences between sources; Editorial revisions issues: EE revisions , Inaccuracies in FE , GE revisions , No pedal release mark |
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b. 4
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composition: Op. 10 No 4, Etude in C♯ minor
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While adding the fingering in EE, Fontana indicated the fingering of the five-note chord at the end of the bar. It suggests that, according to him, striking simultaneously two black keys with the 1st finger was not a generally known grip. category imprint: Differences between sources issues: EE revisions |
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