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b. 5-13
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composition: Op. 10 No 6, Etude in E♭ minor
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The '1' digits at the end of bars 5 and 13 (and 45) are written in A. It is hard to determine why none of them is present in FE (→GE,EE). In any case, Chopin's entry in FES in bars 45-46 confirms both the fingering and the need for its indication. Therefore, in the main text we give the 1s written in A. (The fingering written in FES in bar 46 is also given by us in bar 6 – cf. General Editorial Principles, p. 17.) category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 5-13
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composition: Op. 10 No 6, Etude in E♭ minor
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In bars 5 and 13 it is not certain whether the difference between the indications (accents, category imprint: Differences between sources issues: Long accents , Inaccuracies in FE |
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b. 5-6
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composition: Op. 10 No 7, Etude in C major
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In A the accent in bar 5 is significantly longer than the one in bar 6 (similarly in bars 9-10). A minor difference was reproduced only in EE, which is probably a fortuitous coincidence. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE |
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b. 5-14
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composition: Op. 10 No 7, Etude in C major
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The whole-bar long slurs of EE are an arbitrary addition of the reviser who simply copied the authentic slurs from bars 1-4. The revision includes bars 5-11 in EE3 and in EE4 also bars 12-14. category imprint: Differences between sources issues: EE revisions |
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b. 5-6
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composition: Op. 10 No 9, Etude in F minor
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In bar 5 and in the 1st half of bar 6, in AI, instead of part of the L.H., there is come sopra, which, in this context, undoubtedly refers to bars 1-2 and means repetition of the notation of the first three groups of semiquavers. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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