Articulation, Accents, Hairpins
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b. 1-6
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composition: Op. 10 No 8, Etude in F major category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE |
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b. 2
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composition: Op. 10 No 8, Etude in F major
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The wedges over d and a are a result of a mistake of the engraver of FE, who misinterpreted the '1's of the fingering. The first of them was removed in the last proofreading of FE (→EE), yet in GE it remained unchanged. In the main text we give the fingering after A, yet we leave the inclusion of the digit over d to the performer's discretion, as in subsequent, similar figures (bars 4, 6, 8), Chopin did not once repeat it and it cannot be excluded that it referred to the original version of this fragment. category imprint: Differences between sources issues: Errors in FE , Authentic corrections of FE |
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b. 4
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composition: Op. 10 No 8, Etude in F major
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In GE the d note was provided with a wedge, probably by analogy to bar 2. category imprint: Differences between sources issues: GE revisions |
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b. 9-12
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composition: Op. 10 No 8, Etude in F major
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The accents added in FE (→GE,EE) may be a result of Chopin's proofreading. However, according to us, it is more probable that they were additionally added by the engraver of FE, who either did not observe the change in accentuation or he considered it to be the manuscript's inaccuracy. Cf. the Etude in C major, No. 7, bars 54-55, C minor, No. 12, bars 2-4. category imprint: Differences between sources issues: Authentic corrections of FE |
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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 |
