![](/build/images/logo_left-en.png)
![](/build/images/pl-button.5cab5de0.png)
![](/build/images/pomoc-button.d3d09842.png)
![](/build/images/pomoc-button-en.5098433b.png)
Issues : Errors in FE
b. 1-6
|
composition: Op. 10 No 8, Etude in F major
..
 
category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE |
|||||
b. 1
|
composition: Op. 25 No 7, Etude in C♯ minor
..
In the main text we suggest quavers, as their authenticity is beyond any doubt. In turn, the crotchets in FE may be a result of the engraver's inattention – the spaces between the c category imprint: Differences between sources issues: Errors in FE |
|||||
b. 1-5
|
composition: Op. 25 No 11, Etude in A minor
..
Placing a metronome marking at the beginning of the Etude in FE is certainly a mistake. This edition adopted – in the entire Opus 25 and in other pieces – a graphical solution consisting in placing indications concerning metronome not above the notes (next to the tempo indication), yet in the indent of the first line of the note text. The rule was applied also here, not taking into account the fact that it is misleading in relation to the different tempo of the first four bars. category imprint: Differences between sources issues: Errors in FE |
|||||
b. 1
|
composition: Op. 35, Sonata in B♭ minor, Mvt I
..
The category imprint: Differences between sources issues: EE revisions , Errors in FE , 4/4 or 2/2 |
|||||
b. 1-2
|
composition: Op. 35, Sonata in B♭ minor, Mvt I
..
The slur embracing the bass motif, visible in GC (→GE), was probably overlooked by the engraver of FE1 (→FE2→EE1). It was then added in the proofreading of FE3 (→FE4), probably as a result of Chopin's intervention. The sign was also added in EE2.
category imprint: Differences between sources issues: EE revisions , Errors in FE , Authentic corrections of FE |