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b. 1-6
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composition: Op. 25 No 8, Etude in D♭ major
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Chopin's intention of providing all bass notes with staccato dots remains beyond any doubt, despite the fact that in A the last dot is missing (or it is written in an unclear manner). It is FE and GE2 (→GE3) that include the totally correct notation in this respect. In the remaining editions, the notation is more or less inaccurate – GE completely omits the dots in these bars, while EE puts them only next to a few notes, rather accidentally (one dot was omitted in each of the following bars: 1-3 and 5-6). category imprint: Differences between sources issues: Errors in GE , GE revisions , EE inaccuracies , Inaccuracies in A |
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b. 1
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composition: Op. 25 No 9, Etude in G♭ major
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All three source indications of the tempo-character are almost certainly authentic (vivace and assai – certainly, non tanto – highly likely). It means that Chopin changed his mind on this issue at least twice, yet the order of the changes is unknown – we only know that assai is later than vivace, as in GC there is a relevant correction. Chopin's hesitation concerned rather terminology than the actual tempo of the Etude, as the later added metronome tempo is the same for all three indications. The choice of one of them is then of a minor practical meaning. In the main text we give assai, with which Chopin replaced vivace, which seems to correspond better to the fast (for the rhythm and texture used in the Etude) tempo indicated by the metronome. category imprint: Differences between sources; Corrections & alterations |
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b. 1-8
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composition: Op. 25 No 9, Etude in G♭ major
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The accents in GC (→GE) were added by Chopin, at the same time replacing a few category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections in GC |
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b. 1-24
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composition: Op. 25 No 9, Etude in G♭ major
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EE consistently displays a different slurring of the basic figure in the R.H. in the entire Etude. It is rather a result of a different interpretation of Chopin's autograph by the engraver or copyist than differentiated Chopin notation. In the main text we give the version of two sources – GC and FE – which does not yet mean that the shorter slurs of EE must be considered as inaccurate, particularly considering the fact that neither musical nor pianistic issues give grounds for considering one of these versions to be clearly better. However, the longer slurs are supported by the visible in GC minor corrections of the slurs (e.g., in bar 34), proving the general acceptance of the three-note slurs by Chopin. category imprint: Differences between sources issues: EE revisions |
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b. 1
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composition: Op. 26 No 1, Polonaise in C♯ minor
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category imprint: Differences between sources issues: Dedications , GE revisions |
signs in bars 1-4. The missing accents in 
