Issues : Abbreviated octaves' notation
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b. 69-70
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composition: Op. 10 No 1, Etude in C major
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The sustained octave in CLI is certainly the original version of the bass line. category imprint: Differences between sources issues: Accompaniment changes , Abbreviated octaves' notation |
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b. 69
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composition: Op. 44, Polonaise in F♯ minor
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As with other analogous places, in FE (→EE) the L.H. part octaves (from the 2nd beat of the bar to the end of the bar) are written in a simplified manner with the use of con 8va. category imprint: Differences between sources issues: Abbreviated octaves' notation |
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b. 71
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composition: Op. 10 No 4, Etude in C♯ minor
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The C category imprint: Source & stylistic information issues: Abbreviated octaves' notation |
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b. 73-76
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composition: Op. 10 No 1, Etude in C major
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In FE there are no ties sustaining the upper notes of the octaves in bars 73-74 and 75-76. According to us, the most probable explanation is a misunderstanding at the time of changing the original abbreviated notation of the octaves with the use of 8 under the upper notes for regular notation. In CLI the octaves, written in the described brief manner, are not sustained at all, which most probably is a mistake.
category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , GE revisions , Abbreviated octaves' notation |
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b. 78
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composition: Op. 10 No 5, Etude in G♭ major
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It is uncertain whether the octaves, written in A in an abbreviated form with the use of 8, were not simply overlooked in FE (→GE,EE). Stylistically, both versions seem to be equal. In the main text we give the version of the editions, as Chopin could have considered it as the correct one even if it had emerged accidentally (there are no entries in this place in any of the pupils' copies). category imprint: Differences between sources issues: Errors in FE , Authentic corrections of FE , Abbreviated octaves' notation |
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