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Issues : GE revisions
b. 32
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composition: Op. 10 No 2, Etude in A minor
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Three accents written in Ap in bar 32 are undoubtedly short, if considering their shape. However, their position gives raise to doubts – the signs certainly do not exclusively refer to the upper voice, therefore, they fall on the 2nd, 3rd and 4th beat of the bar, where they probably concern the entire chords. However, if they concern the chords, such a position suggests their extended function, which corresponds to the definition of long accents (cf. bars 45-46). In the main text we give one category imprint: Differences between sources issues: Long accents , Inaccuracies in FE , GE revisions , EE inaccuracies , Authentic corrections of FE |
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b. 33-34
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composition: Op. 10 No 2, Etude in A minor
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The sources differ in the range of category imprint: Differences between sources issues: Inaccuracies in FE , Errors in EE , Errors in GE , GE revisions |
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b. 37
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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. In the sources Chopin's hesitation is also reflected, as far as the position of the cautionary category imprint: Differences between sources; Corrections & alterations issues: EE revisions , GE revisions , Accompaniment changes , 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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We add a staccato dot in keeping with marks written by Chopin into FEcor in the analogous bars 4 and 12. As Chopin added dots in neighbouring bars, his inadvertent omission of the mark rises no doubts here. The dot was added already in GE4 (→GE5). category imprint: Differences between sources; Editorial revisions issues: GE revisions |