b. 17-18
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composition: Op. 10 No 12, Etude in C minor
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In the main text we give the fingering added by Chopin in a proofreading of FE (→GE), completed with Chopin's fingering for analogous figures in the subsequent section of the Etude, in this case in bars 74-75 (cf. General Editorial Principles, p. 17). Fontana applied a similar procedure in EE, yet to a greater extent. category imprint: Differences between sources; Editorial revisions issues: EE revisions , Authentic corrections of FE |
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b. 17
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composition: Op. 10 No 12, Etude in C minor
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The articulation detail written in A could have been overlooked in FE. In spite of this, we prefer the notation of the editions, as in analogous situation in bar 57 Chopin already did not mark the separation of the bass note. The fingering also does not suggest an interruption of the passage's continuity. category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 17-18
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composition: Op. 10 No 12, Etude in C minor
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In A the slur in bar 17 (the last one on the page) suggests a continuation, which is, however, not confirmed by the slur in bar 18. FE (→GE,EE) includes separated slurs. Taking into account the fact that the slur in bar 18 in A is evidently inaccurately written, we assume that Chopin's intention in this place was most probably one slur until the end of bar 18. category imprint: Graphic ambiguousness; Interpretations within context |
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b. 17-18
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composition: Op. 10 No 12, Etude in C minor
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We add a few cautionary accidentals: a before e in bar 17 and a before g and before b in bar 18. The natural was already added in GE2 (→GE3→GE4) and EE4. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 18
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composition: Op. 10 No 12, Etude in C minor
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In the main text we give the fingering digits written by Chopin in FED. Fontana added the same fingering in EE. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED |