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b. 11-12
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composition: Op. 25 No 1, Etude in A♭ major
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The broken slur of EE may result from misunderstanding of the manuscript, perhaps inaccurate. In A, bar 11 closes the line; this layout, conducive to ambiguities in the slurs' notation, was probably repeated in the manuscripts which served as base texts for FE and EE. category imprint: Differences between sources issues: EE inaccuracies |
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b. 11
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composition: Op. 25 No 2, Etude in F minor
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Despite the presence of indications in AW, it seems that the pedalling in GC and other Stichvorlage manuscripts, including [A], was added by Chopin in the last phase of preparations of base texts for edition, which explains its absence in CDP. Similarly in bar 30. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections in GC |
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b. 11-12
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composition: Op. 25 No 2, Etude in F minor
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The written in AT broader positions of the L.H. were later changed by Chopin. Both in this place and in bar 8, the reason of the change was, however, probably the logic of leading the voices of the accompaniment. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 11-12
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composition: Op. 25 No 4, Etude in A minor
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In the main text we give a pair of category imprint: Differences between sources issues: Authentic corrections of FC |
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b. 11
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composition: Op. 25 No 4, Etude in A minor
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Adding the second wedge under this chord in FE seems to be an argument for an intention to leave this sign. On the other hand, Chopin did not add it in FC, as he probably did with the wedges in bar 16. Therefore, in the main text we leave the inclusion of this sign at the discretion of the performer. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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