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b. 43-45
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composition: Op. 10 No 12, Etude in C minor
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category imprint: Differences between sources issues: Inaccuracies in FE , Errors in GE , GE revisions , Authentic corrections of FE |
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b. 45-50
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composition: Op. 10 No 12, Etude in C minor
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According to his generally observed rule, Chopin did not give here the fingering in FE, as he had already indicated it in identical figures in bars 1-10. In EE Fontana added the fingering after his own development of fingering in bars 5-10, yet not identical (the 2nd finger in the L.H. at the end of bar 47 is an alternative solution, while the 4th finger on d1 in bar 49 is certainly a mistake related to the change of fingering indications to the English system – General Editorial Principles, p. 10). In the main text we respect Chopin's decision expressed in FE of not repeating the fingering given at the beginning of the Etude. category imprint: Differences between sources issues: EE revisions |
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b. 45-46
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composition: Op. 10 No 12, Etude in C minor
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In the main text we give the slurs in the parts of both hands, as Chopin wrote it in A; such slurs are included in EE. We consider the fact that in A the slur in the L.H. begins two notes later than the slur in the R.H. as the notation's inaccuracy. In FE (→GE) the range of the slur in the L.H. is correct, yet the slur in the R.H. was omitted. category imprint: Differences between sources issues: Inaccuracies in FE , Inaccurate slurs in A |
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b. 45
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composition: Op. 10 No 12, Etude in C minor
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We suggest to mark the bass note with a wedge after the chord in the R.H. The need for unified articulation in this context is undeniable. category imprint: Editorial revisions |
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b. 47
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composition: Op. 10 No 12, Etude in C minor
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In A (→FE→GE,EE) the naturals before B1 and B in the 2nd half of the bar are repeated. We omit these unnecessary accidentals. Before the next semiquaver in A there is no cautionary category imprint: Editorial revisions issues: Cautionary accidentals |