Issues : Annotations in teaching copies
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b. 2-3
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composition: Op. 25 No 2, Etude in F minor
category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Annotations in FES |
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b. 2
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composition: Op. 28 No. 15, Prelude in D♭ major
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It is difficult to decipher the first of the two digits describing the change of fingers on the c2 minim in FES. At the first glance, it seems to be a three, which, however, cannot be obviously combined with the 2nd finger on a category imprint: Graphic ambiguousness; Differences between sources |
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b. 3-11
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composition: Op. 10 No 5, Etude in G♭ major
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In the main text in bar 3 we give the fingering from A without brackets. It was also reproduced in FE (→GE), however, omitting, probably inadvertently, the last digit. This reduced fingering version is also in EE, in which it was additionally repeated in analogous bar 11. Moreover, that edition adds digits in the further part of bar 3. In the main text, apart from the digits drawn from A, we consider a different fingering written by Chopin in bars 3-4 in FED. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FED , Differences in fingering |
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b. 3
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composition: Op. 10 No 6, Etude in E♭ minor
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The fingering in the L.H. was added by Chopin during a proofreading of FE (→GE,EE). Chopin suggests here a different, slightly more demanding finger arrangement than at the beginning of the piece. category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , Annotations in FES , Authentic corrections of FE |
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b. 3
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composition: Op. 25 No 1, Etude in A♭ major
category imprint: Differences between sources |
1 in b. 1. A close look reveals that the topmost part of the mark is vaguer, which suggests that it was written with a separate move. Therefore, a possible interpretation of that digit could be a five. It is also likely that it does not form a part of the mark at all, since it could be merely a trace of the pencil's move before the very act of writing. Such traces can occur when the writing person is in an inconvenient position, e.g. standing in front of a score placed on the music desk. In turn, the more distinct part of the entry resembles a four. The second and third interpretations result in pianistically natural solutions, i.e. the change of fingers from 5 to 1 or 4 to 1.
