Issues : Errors in FE
|
b. 1
|
composition: Op. 10 No 12, Etude in C minor
..
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 |
|||||||||||||||||||
|
b. 1
|
composition: Op. 10 No 12, Etude in C minor
..
We give the time signature after A. Although FE (→GE,EE) displays category imprint: Differences between sources issues: Errors in FE , 4/4 or 2/2 |
|||||||||||||||||||
|
b. 5
|
composition: Op. 10 No 12, Etude in C minor
..
It is hard to state how con forza written in A would become con fuoco in FE (→GE,EE). In the editors opinion a mistake in reading the manuscript is quite probable. However, we keep the published version in the main text because Chopin undoubtedly controlled the performance indications while proofreading FE – i.a. he added just con forza in bar 15 – and did not change anything at the place under discussion. category imprint: Differences between sources issues: Errors in FE , Authentic corrections of FE |
|||||||||||||||||||
|
b. 12
|
composition: Op. 10 No 12, Etude in C minor
..
A has G as the 2nd note in the L.H., same as in the remaining analogous bars. However, the note is written a little bit too low, which probably resulted in its interpretation as F in FE (→EE3). This almost patent error was corrected in GE and EE4. category imprint: Differences between sources issues: EE revisions , Errors in FE , GE revisions |
|||||||||||||||||||
|
b. 22
|
composition: Op. 10 No 12, Etude in C minor
..
The category imprint: Differences between sources issues: Errors in FE |
, it is, however, difficult to assume that the change of time signature was intentional if in 
was not used in Etudes even once (contrary to the manuscripts), cf. the Etude in C major, No. 1, C
minor, No. 4 and F major, No. 8. The phenomenon also applies to other pieces, even in the most obvious cases, e.g., in the Etude in F minor, Op. 25 No. 2, D
major, Op. 25 No. 8 or F minor, Dbop. 36 No. 1.
in 
