Issues : EE revisions
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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 title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and dedication (in EE) most probably come from the editors. See the Etude in C major, No. 1, bar 1. category imprint: Differences between sources issues: EE revisions , Errors in FE , Dedications , GE revisions |
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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. 6-7
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composition: Op. 10 No 12, Etude in C minor
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In the main text we include the fingering written by Chopin in FED. Fontana suggested identical fingering in EE. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED |
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b. 7-9
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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). Fontana added it in EE in a way which can be considered as naturally stemming from Chopin's hints (although certainly not the only one in the 2nd half of bar 8). category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 9-14
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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 of identical figures in the following section of the Etude, in this case in bar 54 (cf. General Editorial Principles, p. 17). In EE Fontana developed the fingering of FE, copying Chopin's fingering from analogous figures and adding the indications in the descending fragments of the passages. category imprint: Differences between sources; Editorial revisions issues: EE revisions , Authentic corrections of FE |
