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Issues : Errors in FE
b. 1
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composition: Op. 10 No 2, Etude in A minor
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In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and the dedication (in EE) most probably come from the editors. See the Etude in C major, No. 1, bar 1. category imprint: Differences between sources issues: EE revisions , Errors in FE , Dedications , GE revisions , Various titles |
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b. 1
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composition: Op. 10 No 2, Etude in A minor
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In the main text we give the tempo indications added by Chopin in subsequent proofs of FE (→GE1→GE2, →EE): Allegro already in FEcor, metronome tempo in the next one. In GE3 (→GE4→GE5) the metronome marking erroneously displays 114. category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Changes of metre , Errors in GE , Metronome tempos , Authentic corrections of FE |
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b. 2
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composition: Op. 10 No 2, Etude in A minor
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In the middle of the bar in FEcor there is no category imprint: Interpretations within context; Source & stylistic information issues: Errors in FE , Authentic corrections of FE |
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b. 4
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composition: Op. 10 No 2, Etude in A minor
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We give the alternative fingering on the basis of Chopin's entry in FEcor. In finished FE (→GE1→GE2,EE) those three digits were mistakenly put one semiquaver earlier. Repetition of the same error in EE is of particular surprise, as the fingering was revised and added by Fontana (cf. bar 12). Revisers of GE3, GE4 and GE5 tried to respectively simplify the fingering's notation and to make it more precise in this place; however, none of them realised the essence of the mistake. category imprint: Differences between sources issues: Errors in FE , Authentic corrections of FE |
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b. 4
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composition: Op. 10 No 2, Etude in A minor
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The category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources issues: Long accents , Errors in FE , Sign reversal |