Issues : 4/4 or 2/2
b. 1
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composition: Op. 10 No 4, Etude in C♯ minor
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We give the time signature marking after AI, although theoretically, Chopin could have introduced in the lost [A]. According to us, it is, however, much more likely that it was an arbitrary change of the engraver of FE (→GE,EE), who did not use the marking in the Etudes – contrary to the manuscripts – even once, cf. the Etudes in C major, No. 1, F major, No. 8 and C minor, No. 12. The phenomenon is also present in other pieces, even in the most obvious cases, e.g., in the Etudes in F minor, Op. 25 No. 2, D major, Op. 25 No. 8 or F minor, Dbop. 36 No. 1. category imprint: Interpretations within context; Differences between sources issues: Errors in FE , 4/4 or 2/2 |
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b. 1
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composition: Op. 25 No 2, Etude in F minor
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The use of time signature is surprising only in CDP and EE, as in FE the indication in the Etudes – contrary to the manuscripts – was not used at all, neither in Op. 25 nor in Op. 10 and the Etude in F minor, Dbop. 36 No. 1 (see also the Impromptu in A major, Op. 29). In any case, the correctness and authenticity of the time signature leaves no doubts – a two-beat bar is written in two autographs (AT and AW) and in GC, based on an autograph. AT has a 2/4 time signature, which is a part of the original rhythmic notation of the Etude, discussed in the adjacent note. category imprint: Differences between sources issues: Changes of metre , Inaccuracies in FE , 4/4 or 2/2 |
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b. 1
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composition: Op. 25 No 4, Etude in A minor
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The use of time signature is not surprising only in GE1, as FE does not use the indication in the Etudes – contrary to the manuscripts – at all, neither in Op. 10 nor in the Etude in F minor, Dbop. 36 No. 1 (cf. also the Impromptu in A major, Op. 29). In any case, the correctness and authenticity of the time signature does not raise any doubts thanks to A (→FC). The correct time signature was returned in GE2 (→GE3). category imprint: Differences between sources issues: Changes of metre , Inaccuracies in GE , Inaccuracies in FE , GE revisions , 4/4 or 2/2 |
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b. 1
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composition: Op. 25 No 6, Etude in G♯ minor
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The use of time signature surprises only in GE1, as FE did not use the indication in the Etudes – contrary to the manuscripts – even once, neither in Op. 25 nor in Op. 10 and the Etude in F minor, Dbop. 36 No. 1 (cf. also the Impromptu in A major, Op. 29). In any case, the correctness and authenticity of the time signature is undeniable with respect to the compatible version of FC and EE. The correct time signature was returned in GE2 (→GE3). category imprint: Differences between sources issues: Changes of metre , Inaccuracies in GE , Inaccuracies in FE , GE revisions , 4/4 or 2/2 |
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b. 1
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composition: Op. 25 No 8, Etude in D♭ major
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The use of the time signature is surprising only in EE, as in FE the time signature was not used in the Etudes even once – contrary to the manuscripts – neither in Op. 25 nor in Op. 10, in the Etude in F minor, Dbop. 36 No. 1 (cf. the Impromptu in A major, Op. 29). Anyways, the correctness and authenticity of the time signature written by Chopin in A (→GE) is beyond any doubt. category imprint: Differences between sources issues: Changes of metre , Inaccuracies in FE , 4/4 or 2/2 |