|
b. 45-46
|
composition: Op. 10 No 2, Etude in A minor
..
In FEcor (→FE→GE,EE) Chopin added cautionary naturals before the last notes in these bars. According to us, in the adopted graphic layout, the natural in bar 45 is unnecessary. The manuscripts do not include these accidentals. category imprint: Differences between sources issues: Cautionary accidentals , Authentic corrections of FE |
||||||||
|
b. 45-46
|
composition: Op. 10 No 2, Etude in A minor
..
According to us, both accents in Ap should be interpreted as long ones, which is confirmed by undoubtedly long accents written by Chopin in FEcor. In FE (→GE,EE) they were rendered as common short accents. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in FE |
||||||||
|
b. 45
|
composition: Op. 10 No 2, Etude in A minor
..
Chopin shortened the rhythmic value of the first octave in FEcor. The staccato dot, with which the crotchet in Ap is provided, significantly corrects the difference in regard to the published version. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
||||||||
|
b. 45-46
|
composition: Op. 10 No 2, Etude in A minor
..
In FEcor Chopin very carefully marked the staccato articulation in the part of the L.H., cf., e.g., the remarks concerning bars 1-7 or 9-17. Therefore, we assume that the lack of dots at the beginning of these bars corresponds to his intention (see bar 45). The marks in Ap are one of numerous detailed performance markings intended – as it seems – only for the use of the addressee of this autograph. category imprint: Differences between sources issues: Chopin's hesitations |
||||||||
|
b. 45
|
composition: Op. 10 No 2, Etude in A minor
..
In the main text we give the last sempre legato written in here by Chopin in FEcor (→FE→GE,EE). Cf. bars 19-21. category imprint: Differences between sources issues: Authentic corrections of FE |
