Issues : Inaccuracies in FE
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b. 18
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composition: Op. 10 No 2, Etude in A minor
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In the main text we give the length-wise harmonised pair of hairpins written by Chopin in FEcor. In Ap there is a striking imbalance between the half-bar-long hairpins and the sign, which looks like an accent. In the editions Chopin's indications were clearly extended. category imprint: Differences between sources |
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b. 25
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composition: Op. 10 No 2, Etude in A minor
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The fingering digit for the lower voice, despite having been written by Chopin in FEcor, does not appear in FE (→GE,EE). It is probably a result of the engraver's inaccuracy. category imprint: Differences between sources |
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b. 25
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composition: Op. 10 No 2, Etude in A minor
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In FE, before the empty space after the deleted c3 note, a was inserted, which was moved by the reviser of GE before f3. In EE2 (→EE3) the sign was removed, yet in EE4 a was added before f3, probably after noticing it in GE. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , GE revisions |
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b. 25-26
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composition: Op. 10 No 2, Etude in A minor
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The clearly long accents, written by Chopin in FEcor, were recreated in FE (→GE,EE) as short ones. Ap has even characteristic marks before the accents, which are typical for this autograph. In the version for printing Chopin did not use any of them. category imprint: Differences between sources issues: Long accents , Inaccuracies in FE |
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b. 27-28
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composition: Op. 10 No 2, Etude in A minor
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The range of cresc., despite having been written by Chopin in FEcor, is questionable. According to us, it goes further, until bar 29, in which there is a mark, determining the local climax. What is characteristic is the fact that in Ap crescendo was not indicated, while in four places there are different types of accents, which were entirely omitted in FE (→GE,EE). category imprint: Interpretations within context; Differences between sources |
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