Issues : Authentic corrections of FE
b. 7
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composition: Op. 10 No 2, Etude in A minor
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The alignment of the notation of the L.H. to the rhythm of the previous bars introduced in FEcor (→FE→GE,EE) is an undeniable improvement. category imprint: Differences between sources; Corrections & alterations |
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b. 7
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composition: Op. 10 No 2, Etude in A minor
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On the 2nd beat of the bar in the R.H. we give the E minor triad (with a before g2) according to FE (→EE2→EE3) and Ap. The natural is, however, absent in FEcor and it was also not included in the copy which served as the base text for GE. In order to avoid the mode discrepancy between the parts of both hands, the reviser of GE1 took the decision to add a raising g1 into g1 in the L.H. In GE2 and subsequent ones, an additional was added before g2 in the R.H. These arbitrary changes were also introduced in EE4. category imprint: Differences between sources issues: EE revisions , Errors in FE , Omissions to cancel alteration , GE revisions , Authentic corrections of FE |
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b. 9-10
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composition: Op. 10 No 2, Etude in A minor
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The pair of signs in Ap may be considered as an alternative to cresc. - - - in FEcor. In the finished version of FE (→GE,EE) the dashes limiting the range of the dynamic scope were omitted. category imprint: Differences between sources |
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b. 9-17
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composition: Op. 10 No 2, Etude in A minor category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 9-13
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composition: Op. 10 No 2, Etude in A minor
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The cautionary naturals before c1 in the L.H. were added in bars 9 and 13 in one of the last proofreadings of FE (→GE). They are also included in EE, except for the overlooked in bar 13 in EE2. The manuscripts do not include any signs in these places. category imprint: Differences between sources issues: Cautionary accidentals , EE inaccuracies , Authentic corrections of FE |