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b. 39
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composition: Op. 10 No 2, Etude in A minor
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In Ap the rhythmic values of subsequent two-note chords of the lower voice in the R.H. create – same as in the previous bar – an alternating short-long scheme (semiquaver-crotchet). The resounding length contrast is 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. 39
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composition: Op. 10 No 2, Etude in A minor
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The mark in Ap may be, according to us, interpreted as an accent (short or long?) or category imprint: Interpretations within context; Differences between sources issues: Long accents , EE revisions |
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b. 39
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composition: Op. 10 No 2, Etude in A minor
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In the main text we give a long accent on the basis of clear handwritten entry by Chopin in FEcor. The sign in FE (→GE1) is significantly shorter, yet it can still be considered a long accent. Later GE and EE already have a common short accent (except for EE2, in which the sign was overlooked). The accent under the part of the L.H. in Ap should also be considered as rather a short one. category imprint: Differences between sources issues: Long accents , Authentic corrections of FE |
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b. 39
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composition: Op. 10 No 2, Etude in A minor
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The ties sustaining b are probably (GE) or certainly (EE4) an addition of the revisers of these editions. In the main text we adopt the unequivocally authentic version of CLI, Ap and FE (→EE2→EE3). category imprint: Differences between sources issues: EE revisions , GE revisions |
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b. 39
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composition: Op. 10 No 2, Etude in A minor
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In a later proofreading of FE (→GE,EE) Chopin added the slur combining f and e (it is absent both in FEcor and Ap). Similarly in bars 4 and 12. category imprint: Differences between sources issues: Authentic corrections of FE |
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