b. 35
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composition: Op. 10 No 2, Etude in A minor
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This is the only place where the fingering included in Ap clearly differs from the one written by Chopin in FEcor. Its use requires modification of the fingering digit given in the editions for the 10th semiquaver (5 instead of 3), as well as of the one at the beginning of bar 36 (resulting from Chopin's entries in bar 1) – 5 instead of 4. category imprint: Differences between sources |
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b. 35
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composition: Op. 10 No 2, Etude in A minor
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In the main text we give the hairpins written by Chopin in one of the last proofreadings of FE (→GE,EE). category imprint: Differences between sources |
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b. 35-36
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composition: Op. 10 No 2, Etude in A minor
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In the main text we reproduce the articulation marking written by Chopin in FEcor. In finished FE and the remaining sources the inscription fits in bar 35. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 35
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composition: Op. 10 No 2, Etude in A minor
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The indications of Ap constitute a continuation of from bar 32 and in the final dynamic concept given by us, they seem to be superfluous. category imprint: Differences between sources |
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b. 36
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composition: Op. 10 No 2, Etude in A minor
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In CLI there are no naturals returning a1, d2 and f2. The accidentals were also absent in FEcor, in which Chopin, however, added all of them. Eventually, both FE (→GE,EE) and Ap have the correct notation. category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , Authentic corrections of FE , Errors of CLI |