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b. 26
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composition: Op. 10 No 12, Etude in C minor
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In A there is no cautionary category imprint: Differences between sources; Editorial revisions issues: Cautionary accidentals , Authentic corrections of FE |
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b. 27
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composition: Op. 10 No 12, Etude in C minor
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Chopin changed the rhythm of A while proofreading FE (there are visible traces of this change). The withdrawal from the rhythmic underlining of the topmost note of the passage may be related to a minor change in the Etude's concept, revealed also in increasing its tempo. See also bars 30 and 32. category imprint: Differences between sources; Corrections & alterations |
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b. 27-28
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composition: Op. 10 No 12, Etude in C minor
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Bar 27 is one of two bars in which the fingering is already included in A. It was repeated and completed in FE (→GE,EE), yet with one exception – the last digit in A is written under the penultimate note and in the editions – under the last one. According to us, the engraver's error is a more possible explanation than Chopin's correction. Therefore, in the main text we consider both possibilities, however, we give preference to the undoubtedly authentic version of A. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 27
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composition: Op. 10 No 12, Etude in C minor
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In the further part of the bar Chopin performed corrections in FE, the omission of category imprint: Differences between sources issues: Errors in FE |
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b. 27
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composition: Op. 10 No 12, Etude in C minor
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In the main text we reproduce the dynamic hairpins after A. In the editions their range underwent a minor change, which can be however considered to not be devoid of meaning. category imprint: Differences between sources issues: Inaccuracies in FE |
before c. The accidental was added in a proofreading of 
in the R.H. chord).
in 
in 