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Issues : Authentic corrections of FE
b. 1-5
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composition: Op. 10 No 2, Etude in A minor
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In bars 1 and 5 in CLI there are no naturals returning a1, d2 and f2. The signs were also originally absent in FEcor (→FE,EE), in which Chopin added all of them. A correct notation is featured in Ap too. Similarly as in all subsequent repetitions of this bar (bars 9, 13, 36 and 40). category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , Authentic corrections of FE |
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b. 1-5
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composition: Op. 10 No 2, Etude in A minor
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The cautionary accidentals before c1 in the L.H. were added in the L.H. in one of the last proofreadings of FE (→GE). They are also included in EE, apart from the category imprint: Differences between sources issues: Cautionary accidentals , EE inaccuracies , Authentic corrections of FE |
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b. 1
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composition: Op. 10 No 12, Etude in C minor
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In the main text we give the metronome marking introduced by Chopin in a proofing of FE (→GE,EE). The slightly faster tempo than the one written by Chopin in A is compatible with the rhythmic changes in a few fragments of the Etude – in bars 27, 30 and 32 Chopin withdrew from the use of demisemiquavers. category imprint: Differences between sources; Corrections & alterations issues: Metronome tempos , Authentic corrections of FE |
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b. 1
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composition: Op. 10 No 12, Etude in C minor
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The category imprint: Differences between sources issues: Inaccuracies in FE , Authentic corrections of FE , fz – f |
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b. 1-6
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composition: Op. 10 No 12, Etude in C minor
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In the main text we give the fingering added by Chopin in a proofreading of FE (→GE). The fingering in the L.H. was added by Fontana in EE, who copied Chopin's fingering from analogous figures. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |