Issues : Authentic corrections in GC
b. 23
|
composition: Op. 25 No 11, Etude in A minor
..
The indication, added in GC (→GE) by Chopin, is also in EE. The absence of the sign in FE reflects probably the original state of the Stichvorlage manuscripts. Similarly dim. in bars 25-26 and in bar 31. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections in GC |
||||||||||||||
b. 23
|
composition: Op. 25 No 10, Etude in B minor
category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections in GC |
||||||||||||||
b. 24
|
composition: Op. 25 No 2, Etude in F minor
..
The visible in GC deletions prove that the arrangement of the sign both in FE and EE was considered to be inaccurate by Chopin. Similarly in bar 26. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections in GC |
||||||||||||||
b. 24-26
|
composition: Op. 25 No 11, Etude in A minor
..
Quite a significant difference in the range of the diminuendo indication suggests that it was written by Chopin in GC and base text to EE independently. The earlier ending of the dashes determining the range of this indication in GE1 is probably a result of an inaccurate interpretation of GC and perhaps also difficulties with finding place for some of them. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections in GC |
||||||||||||||
b. 24-25
|
composition: Op. 25 No 10, Etude in B minor
..
In the main text we give differentiated accents, written most probably with Chopin's hand in GC. GE reproduced all of them as short ones, EE too. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , Authentic corrections in GC |