b. 1
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composition: Op. 25 No 8, Etude in D♭ major
category imprint: Differences between sources |
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b. 1
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composition: Op. 25 No 8, Etude in D♭ major
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In A the bottom note of the 4th quaver was corrected by Chopin from g to a (similarly in bars 2, 5, 6 and 22). In the 1st bar, the result of this correction is not that obvious, at the first sight, and the version of EE proves that probably the copyist preparing the base text for this edition misinterpreted Chopin's intention. category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Errors resulting from corrections , Accompaniment changes |
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b. 1
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composition: Op. 25 No 8, Etude in D♭ major
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It is unclear how the difference in the indications arose. FE does not bear any traces of correction (deletion of molto). In the main text we reproduce the notation of A (→GE) and EE. category imprint: Differences between sources |
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b. 1
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composition: Op. 25 No 8, Etude in D♭ major
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According to us, it is an oversight that is a more likely explanation for the absence of the mezza voce indication in FE rather than a possible Chopin's correction, whose effect would be a total resignation from indicating dynamics at the beginning of the piece. category imprint: Differences between sources issues: Inaccuracies in FE |
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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 |