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Issues : Authentic corrections of FE
b. 44-46
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composition: Op. 10 No 11, Etude in E♭ major
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In A in bars 44 and 46 only the first out of four necessary flats lowering d1/2 to d category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , GE revisions , Omission of current key accidentals , Authentic corrections of FE |
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b. 48-49
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composition: Op. 10 No 11, Etude in E♭ major
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In A a number of corrections is visible in these bars. In the part of the R.H. Chopin deleted e category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Chopin's hesitations , Authentic corrections of FE |
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b. 48-49
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composition: Op. 10 No 11, Etude in E♭ major
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Lack of d1 in the 3rd chord in bar 48 in A and deletion of this note in bar 49 prove Chopin's hesitation, as, eventually, he added the note in both bars, while proofreading FE (→GE,EE). Admittedly, the composer had to choose between the correct voice leading and a more graceful and fuller, as far as the sound is concerned, pianistic grip. category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Chopin's hesitations , Authentic corrections of FE |
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b. 48-49
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composition: Op. 10 No 11, Etude in E♭ major
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In A Chopin did not check the notation of accidentals in these bars. In each of them the category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FED , Omissions to cancel alteration , GE revisions , Errors of A , Authentic corrections of FE |
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b. 50
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composition: Op. 10 No 11, Etude in E♭ major
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The traces of corrections, visible in FE, allow to conclude that b category imprint: Differences between sources issues: Errors in FE , Terzverschreibung error , Authentic corrections of FE |