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Issues : Authentic corrections of FE
b. 1
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composition: Op. 10 No 12, Etude in C minor
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In the main text we give the metronome marking introduced by Chopin in a proofing of FE (→GE,EE). The slightly faster tempo than the one written by Chopin in A is compatible with the rhythmic changes in a few fragments of the Etude – in bars 27, 30 and 32 Chopin withdrew from the use of demisemiquavers. category imprint: Differences between sources; Corrections & alterations issues: Metronome tempos , Authentic corrections of FE |
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b. 1
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composition: Op. 10 No 12, Etude in C minor
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The category imprint: Differences between sources issues: Inaccuracies in FE , Authentic corrections of FE , fz – f |
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b. 1-6
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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). The fingering in the L.H. was added by Fontana in EE, who copied Chopin's fingering from analogous figures. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 2-4
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composition: Op. 10 No 12, Etude in C minor
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Lack of the accent in the middle of bar 4 is probably an inaccuracy of the notation of A – it seems highly unlikely that this bar was supposed to be less accentuated than bar 2. In the main text we suggest all accents added probably in a proofreading of FE (→GE,EE). The added accents do not differ from the adjacent ones, therefore, we accept both possibilities of their interpretation – cf. bars 1-6. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Authentic corrections of FE |
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b. 2-4
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composition: Op. 10 No 12, Etude in C minor
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The category imprint: Differences between sources issues: Long accents , Authentic corrections of FE |