Issues : Authentic corrections of FE
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b. 49-50
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composition: Op. 10 No 8, Etude in F major
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It is not clear whether a slightly oblique line in A going from the last crotchet of bar 49 to the second beat of bar 50 is a slur, nor what the extent of that possible slur should be. In the main text we give the slur from FE (→GE,EE) and suggest adding another one modeled on the sign written in A in the analogous bar 48. category imprint: Graphic ambiguousness; Editorial revisions |
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b. 51
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composition: Op. 10 No 8, Etude in F major
category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 51
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composition: Op. 10 No 8, Etude in F major
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The change of the position of the accent, which in A concerns the A1-A octave and in FE (→GE,EE) the chord at the beginning of the bar, must be considered as inspired or accepted by Chopin. While proofreading FE, the composer added an arpeggio mark and pedalling in the same place, hence it seems to be highly unlikely that he did not see the accent. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 53-57
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composition: Op. 10 No 8, Etude in F major
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In the main text we give the fingering in bar 53, written by Chopin in a proofreading of FE (→GE). In this and next bars, Fontana added a number of further hints in EE, specifying Chopin's indications. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 53-56
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composition: Op. 10 No 8, Etude in F major
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The pedalling was added in a proofreading of FE (→GE,EE). The omitted category imprint: Differences between sources; Editorial revisions issues: GE revisions , Authentic corrections of FE |
mark closing the pedal from bar 53, probably by mistake, was completed in 
mark in bar 53 is written in