Verbal indications
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b. 25
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composition: Op. 10 No 11, Etude in E♭ major
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The arrangement of dolce in A suggests that it concerns the 2nd and subsequent quavers in the bar. However, in FE it was put already over the 1st quaver, which, according to us, is a result of a misunderstanding of Chopin's intention by the engraver. What is interesting is the fact that both in GE and in EE the hint was arranged after A and not FE. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , GE revisions |
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b. 26-32
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composition: Op. 10 No 11, Etude in E♭ major
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In A Chopin made a mistake and wrote the word ritenuto in bars 26 and 32 as rittenuto. The error is absent in the editions, probably it was already corrected by the engraver of FE. category imprint: Differences between sources issues: Errors of A , FE revisions |
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b. 26
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composition: Op. 10 No 11, Etude in E♭ major
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Moving to the beginning of the bar in GE2 (→GE3→GE4) is certainly a missed revision of the editor. category imprint: Differences between sources issues: GE revisions |
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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. 43-44
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composition: Op. 10 No 11, Etude in E♭ major
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Distraction, or perhaps also lack of space, are, according to us, the possible reasons for omitting the dynamic indications in FE (→GE,EE). category imprint: Differences between sources issues: Inaccuracies in FE |
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