Issues : Authentic corrections of FE
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b. 23
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composition: Op. 10 No 11, Etude in E♭ major
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In A there is no category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , Errors of A , Authentic corrections of FE |
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b. 24
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composition: Op. 10 No 11, Etude in E♭ major
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In A there is no category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Corrections in A , Errors resulting from corrections , Enharmonic corrections , Authentic corrections of FE |
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b. 25-28
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composition: Op. 10 No 11, Etude in E♭ major
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Same as in bars 1-14, the omission of the hairpins in bars 25-26 and 28 in the editions may be – independently from the reason – considered as accepted by Chopin. Also in this case the musical image with only one pair of marks in bar 27 is logical and convincing. In the main text we give additional marks of A in brackets, which, according to us, will offer the performer the richest palette of performance possibilities. category imprint: Differences between sources; Corrections & alterations |
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b. 26-28
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composition: Op. 10 No 11, Etude in E♭ major
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The cautionary flats before e category imprint: Differences between sources issues: Cautionary accidentals , Authentic corrections of FE |
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b. 26-32
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composition: Op. 10 No 11, Etude in E♭ major
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From the 2nd quaver in bar 26 in the R.H. and from the 3rd quaver in bar 27 in the L.H. there are no arpeggio marks in A until the end of bar 32. It is undoubtedly a result of Chopin's distraction. The wavy lines were added in a proofing of FE (→GE,EE), yet in FE the 1st chord in bar 29 was omitted. category imprint: Differences between sources issues: EE revisions , GE revisions , Errors of A , Authentic corrections of FE |
lowering c3 to c
before the topmost note. It is a result of an oversight in the change of notation of this chord from f
in 
