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b. 53-54
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composition: Op. 10 No 1, Etude in C major
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The authenticity of the slur of FE (→GE1→GE2,EE) is undeniable. Lack of the sign in later GE,s is most probably a result of an oversight. category imprint: Differences between sources issues: Errors in GE |
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b. 53-66
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composition: Op. 10 No 1, Etude in C major
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In bars 53-56, 59, 61-63 and 65-66 in the main text we give Chopin's pedalling on the basis of FE (→GE,EE). In bars 57-58 FE (→GE1→GE2,EE) has one pedal, which we adopt to the main text. In GE3 (→GE4→GE5) there was added an arbitrary change of pedal at the transition of these bars. category imprint: Differences between sources issues: GE revisions |
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b. 54-58
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composition: Op. 10 No 1, Etude in C major
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In bars 51-58 in FE (→GE) there is no fingering. Chopin probably thought the indications he gave in analogous bars 3-8 and 1-2 to be sufficient. Adding the indications in bars 54-58 in EE, Fontana stuck to the fingering resulting from Chopin's indications. category imprint: Differences between sources issues: EE revisions |
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b. 54-63
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composition: Op. 10 No 1, Etude in C major
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In some of the sources the lower notes of the octaves in the L.H. are marked in an abbreviated form with 8 signs. In CLI and FE all described bars are written in this way, although in CLI two 8 signs were omitted in bar 60. In EE the abbreviation was used only in bars 54-56. category imprint: Source & stylistic information issues: Abbreviated octaves' notation , Errors of CLI |
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b. 54-66
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composition: Op. 10 No 1, Etude in C major
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In the sources there is a number of discrepancies in the notation of accidentals. They result from unnamed and changing over the time rules concerning the accidentals' validity and they do not influence the interpretation of the text. The layout of the accidentals adopted in the main text is present in GE4 (→GE5). category imprint: Source & stylistic information issues: EE revisions , Accidentals in different octaves , GE revisions |
