Issues : Authentic corrections of FE
b. 20-22
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composition: Op. 10 No 8, Etude in F major
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The staccato dots at the beginning of bars 20 and 22 were added – most probably by Chopin – in a proofreading of FE (→GE,EE). category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 22-23
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composition: Op. 10 No 8, Etude in F major
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Both dynamic indications in these bars were added by Chopin during a proofreading of FE (→GE,EE). The mark was placed at the beginning of the 2nd crotchet in bar 23, which is either a mistake (cf. bar 9) or an example of a notation's convention, sometimes used by Chopin, according to which the mark is not placed at the beginning, yet in the middle of its range of validity (cf. the Etude in C major, No. 1, bar 45). category imprint: Interpretations within context; Differences between sources issues: Authentic corrections of FE , Centrally placed marks |
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b. 25-28
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composition: Op. 10 No 8, Etude in F major
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Random fingering of A was completed in details by Chopin in a proofreading of FE (→GE,EE). In EE, Fontana added fingering indications also to the 2nd half of bar 27. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 28
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composition: Op. 10 No 8, Etude in F major
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The slur in the L.H. was added – probably by Chopin – in a proofreading of FE (→EE,GE1→GE2). The slur clearly indicates continuation in the next bar (on a new page), in which, however, there is no relevant mark. In EE, in which bars 28-29 are not separated, the slur was led to the beginning of bar 29. In turn, in GE3 (→GE4) the slur's range was limited to three semiquavers. category imprint: Interpretations within context; Differences between sources issues: GE revisions , Authentic corrections of FE |
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b. 29-30
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composition: Op. 10 No 8, Etude in F major
category imprint: Differences between sources issues: Authentic corrections of FE |