b. 77-78
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composition: Op. 10 No 12, Etude in C minor
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In A (→FE) the tie sustaining c2 is written only in bar 78 (in a new line of the text). This patent oversight was corrected in GE and EE. category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 77-81
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composition: Op. 10 No 12, Etude in C minor
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The marks visible in A under the part of the L.H. in bars 77 and 79 present serious performance problems – none of them was included in FE (→GE,EE), while the mark in bar 77 may concern the part of the R.H. in bar 81. We base the variant solution in the text on the assumption that both marks concern the L.H. and their absence in the editions could have been a result of inaccuracies in reproducing the manuscript. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE |
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b. 77-78
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composition: Op. 10 No 12, Etude in C minor
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For fingering see bars 77-80. category imprint: Editorial revisions |
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b. 78
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composition: Op. 10 No 12, Etude in C minor
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The interpretation of the mark written in A presents a number of problems. It undoubtedly concerns the part of the R.H., in fact, only one note – d2. Therefore, it could be considered as a kind of reversed long accent. The hairpins visible in FE (→GE,EE) actually have a similar meaning and they were not questioned by Chopin at the time of proofreading, thus we adopt them in the main text. category imprint: Interpretations within context; Differences between sources issues: Scope of dynamic hairpins |
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b. 78-79
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composition: Op. 10 No 12, Etude in C minor
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The moment of the slur's beginning in A is unclear, hence we suggest two possible interpretations. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , Embracing slurs , Pointing slurs |