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b. 1-5
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composition: Op. 10 No 7, Etude in C major
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In A one can see that the penultimate semiquaver in bars 1 and 5 was initially d1-f1. category imprint: Corrections & alterations issues: Corrections in A |
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b. 1
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composition: Op. 10 No 7, Etude in C major
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In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and dedication (in EE) most probably come from the editors. See Etude in C, No. 1, bar 1. category imprint: Differences between sources issues: EE revisions , Errors in FE , Dedications , GE revisions |
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b. 1-2
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composition: Op. 10 No 7, Etude in C major
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In the main text we give the fingering in the R.H. written by Chopin in A and then completed in a proofreading of FE (→GE). In EE the fingering was carefully completed by Fontana, also in the L.H. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 1
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composition: Op. 10 No 7, Etude in C major
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According to us, separating the accented a category imprint: Editorial revisions issues: Inaccurate slurs in A |
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b. 1-2
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composition: Op. 10 No 7, Etude in C major
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In A (→FE→EE,GE1→GE2) there are naturals before the upper notes on the last semiquaver of each group (b1). The unjustified accidentals were removed in GE3 (→GE4). Cf. bars 4 and 12, as well as 37-39. category imprint: Differences between sources issues: GE revisions , Cautionary accidentals , Last key signature sign |
note from the following quavers is unnatural in terms of both articulation and phrasing. It is confirmed by the slurring of similar bars 2, 5-6, 34-35 and 38-39 – a