Issues : Accompaniment changes
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b. 45-46
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composition: Op. 10 No 2, Etude in A minor
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The crotchets in the lower voice of the R.H., falling on the last beat of these bars in Ap, constitute a sharp articulation contrast in relation to the remaining semiquaver two-note chords, additionally underlined with accents. In the main text we give the homogenous, as far as the sound is concerned, version of FE (→GE,EE). category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Accompaniment changes |
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b. 45
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composition: Op. 10 No 2, Etude in A minor
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The e1 note, featured next to c1 in the lower voice both in CLI and Ap, was deleted by Chopin in FEcor. The simultaneously added fingering – the 2nd finger on a1 – already considers this change and cannot be applied to the original version (most probably Chopin would use the 5th finger in that situation). category imprint: Differences between sources; Corrections & alterations |
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b. 47-49
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composition: Op. 10 No 2, Etude in A minor
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The version of CLI seems to be the earliest shaping stage of the part of the L.H. in the ending of the Etude. However, it cannot be excluded that the notation is incomplete (lack of ties) or erroneous (one-voice notation of bar 47). After considering all possible mistakes and oversights, the version of CLI does not differ from the version of Ap. In any case, Chopin waived dividing the octave in bar 47 already in the base text for FE, which we consider as the final decision. category imprint: Differences between sources issues: Accompaniment changes , Errors of CLI |
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b. 48
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composition: Op. 10 No 2, Etude in A minor
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In Ap three last two-note chords of the lower voice in the R.H. are crotchets. After the previous (from the beginning of bar 47) five semiquavers, it means an attenuation of articulation (in this context semiquavers imply staccato, whereas crotchets – tenuto or legato), which corresponds to the final diminuendo. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Accompaniment changes |
