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Issues : Errors in FE
b. 8
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composition: Op. 25 No 12, Etude in C minor
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It is hard to assume how the difference between the versions of FE and EE1 and these of FC (→GE) and EE2 (→EE3) occurred. In FC, the naturals introducing a are written by the copyist, which means that they were present in the manuscript, probably an autograph copied by Fontana. Therefore, the absence of these signs in FE and EE1 could be explained by their later deletion by Chopin in the base texts to these editions. Hence a regular, chromatic progression of minor thirds in the middle voices would be then introduced only in bar 54 as a kind of variation of the repetition of this place. However, not being certain if it was so – the versions of FE and EE1 could have been results of mistakes – in the main text we give the undoubtedly authentic version of FC (→GE). category imprint: Differences between sources issues: EE revisions , Errors in FE , Errors in EE , Last key signature sign |
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b. 8
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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The version with a category imprint: Interpretations within context; Differences between sources issues: Errors in FE , FE revisions |
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b. 8
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composition: Op. 21, Concerto in F minor, Mvt II
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An additional c1 note on the 5th quaver is certainly a mistake. The correct text in subsequent EE is a result of a comparison with analogous bars 27 and 76 or GE1. category imprint: Differences between sources issues: EE revisions , Errors in FE , Errors in EE |
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b. 8
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composition: Op. 11, Concerto in E minor, Mvt I
category imprint: Differences between sources issues: Errors in FE |
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b. 8
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composition: Op. 11, Concerto in E minor, Mvt I
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According to us, the distinct dash visible in Atut on the right-hand side of the last chord is a fingering digit (1), referring to the d1-e1 second. Its omission in FE (→GE,EE) is probably a result of misunderstanding this mark (or a simple oversight). In the main text, we add a brace indicating the notes this digit applies to. category imprint: Differences between sources issues: Errors in FE |