Issues : Chopin's hesitations
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b. 45-46
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composition: Op. 10 No 2, Etude in A minor
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The crotchets in the lower voice of the R.H., falling on the last beat of these bars in Ap, constitute a sharp articulation contrast in relation to the remaining semiquaver two-note chords, 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. 45-46
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composition: Op. 10 No 2, Etude in A minor
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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 |
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b. 48
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composition: Op. 10 No 2, Etude in A minor
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In Ap three last two-note chords of the lower voice in the R.H. are crotchets. After the previous (from the beginning of bar 47) five semiquavers, it means an attenuation of articulation (in this context semiquavers imply staccato, whereas crotchets – tenuto or legato), which corresponds to the final diminuendo. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Accompaniment changes |
