b. 27-29
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composition: Op. 10 No 11, Etude in E♭ major
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In bars 27 and 29 there are no cautionary accidentals in A. The flat before e1 in bar 27 was added in FE (→GE,EE) and the one before a1 – in GE2 (→GE3→GE4) in both bars and in EE4 in bar 29. category imprint: Differences between sources issues: EE revisions , GE revisions , Cautionary accidentals , Authentic corrections of FE |
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b. 28
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composition: Op. 10 No 11, Etude in E♭ major
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Both dynamic indications included in the sources in this bars are dubious. written by Chopin in A doubles, in a sense, dolcissimo concerning the same motif. Both indications have a very similar meaning and they are often used interchangeably in music. In FE (→GE,EE) instead of there is which, in this situation, complicates even more guessing the intended by Chopin way of performing this motif. In the main text we give the indication of the autograph due to is unquestionable authenticity. category imprint: Interpretations within context; Differences between sources; Corrections & alterations |
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b. 30
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composition: Op. 10 No 11, Etude in E♭ major
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The change of f1 to f1 is an arbitrary revision of EE, whose aim was probably to unify the progression of the tenor voice in bars 29-31. Cf. bar 25. category imprint: Differences between sources issues: EE revisions |
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b. 30-31
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composition: Op. 10 No 11, Etude in E♭ major
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In the main text we give the wedges with which Chopin provided all first chords in bars 30-31 (and in 32). In the editions all marks were inaccurately reproduced as staccato dots, which was frequent at the time of interpreting Chopin's manuscripts. Cf. also bars 16-23, 25 and 27-29. category imprint: Differences between sources issues: Inaccuracies in FE , Wedges |
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b. 30
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composition: Op. 10 No 11, Etude in E♭ major
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In A Chopin changed the internal note of the 3rd chord in the L.H. from f to g. category imprint: Corrections & alterations issues: Corrections in A |