b. 40-42
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composition: Op. 10 No 2, Etude in A minor
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The articulation of the accompanying two-note chords, extended in Ap in bars 9-10 and 13-15, seems to be a one-time exclusive idea or a certain transitional stage in the shaping process of the Etude's text. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Accompaniment changes |
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b. 40-44
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composition: Op. 10 No 2, Etude in A minor
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In bars 40-41 and 43-44 all staccato dots in the part of the L.H. were written by Chopin himself in FEcor (→FE→GE,EE). The overlooked – most probably inadvertently – signs in bar 42 were added in a later proofreading. Ap has the marks only on odd beats of the bar (as in bar 38) and only in bars 40 and 42. For a dot at the beginning of bar 41 see note to this bar. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 40
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composition: Op. 10 No 2, Etude in A minor
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Same as in bar 36, in the version for printing Chopin did not mark cresc. with which he provided analogous bars 1, 5 and 9. In this situation the hairpins in Ap can be considered as an addition to the main text. In bar 42 both groups of sources are compatible – the mark in Ap corresponds with crescendo in the editions. category imprint: Differences between sources |
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b. 41
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composition: Op. 10 No 2, Etude in A minor
category imprint: Differences between sources |
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b. 41
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composition: Op. 10 No 2, Etude in A minor
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The fifth on the 3rd beat of the bar in CLI is probably the original version. The sources also reflect Chopin's hesitation concerning the position of the cautionary before c1. In the main text we adopt – following FE (→EE2→EE3) – the accidental before the chord on the 3rd beat of the bar. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , GE revisions , Accompaniment changes , Authentic corrections of FE |