Issues : Inaccuracies in FE
|
b. 1
|
composition: Op. 10 No 8, Etude in F major
..
We give the time signature's indication after A. Although FE (→GE,EE) has a category imprint: Differences between sources issues: Inaccuracies in FE , 4/4 or 2/2 |
|||||||||||||
|
b. 2-3
|
composition: Op. 10 No 8, Etude in F major
..
In the main text we give the fingering of the L.H. written by Chopin in A. Only some of these digits were correctly reproduced in FE (→GE,EE). The editors assume that the most probable reason for this state of affairs is rather the engraver's negligence than Chopin's proofreading. category imprint: Differences between sources issues: Inaccuracies in FE |
|||||||||||||
|
b. 4-6
|
composition: Op. 10 No 8, Etude in F major
..
In the main text we give the fingering of the L.H., written by Chopin in A. In FE (→GE) the '3' digit was overlooked in bar 5, which is almost certainly an oversight. In EE Fontana completed the fingering at the beginning of bar 5, adding digits for each note. EE3 erroneously features '2' as the 1st digit in bar 4 (it may be a mistake related to the transcription of the "continental" fingering system to the "British" one – cf. General Editorial Principles, p. 10). category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , Errors in EE |
|||||||||||||
|
b. 33-35
|
composition: Op. 10 No 8, Etude in F major
..
In all editions, a few staccato dots next to A quavers were omitted. They are undoubtedly the engravers' inaccuracies. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
|||||||||||||
|
b. 38
|
composition: Op. 10 No 8, Etude in F major
..
We give both indications after A. The shifts performed in FE were probably forced by lack of space under the bottom stave. The notation was subject to further non-authentic reinterpretations in GE and EE. category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE |
, it is difficult to assume that the change of time signature was intentional, as in 
does not appear in any of the Etudes (contrary to the manuscripts), cf. the Etude in C, No. 1, in C
minor, No. 4 and C minor, No. 12. This phenomenon is also present in other pieces, even in the most obvious cases, e.g., in the Etudes in F minor, Op. 25 No. 2, in D
, Op. 25 No. 8 or in F minor, Dbop. 36 No. 1.
& marcato in 
