Ornaments
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b. 9
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composition: Op. 10 No 11, Etude in E♭ major
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The omission of arpeggios in A (→FE) is probably a preview of the transition to the abbreviated notation used in subsequent bars. There is no doubt that Chopin did not want to change the notation here, not to mention the performance. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in A |
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b. 19
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composition: Op. 10 No 11, Etude in E♭ major
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In A Chopin did not write arpeggio wavy lines next to the chords in the L.H. in the entire bar, which is certainly an oversight. category imprint: Differences between sources issues: Errors of A , 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 |
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b. 35
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composition: Op. 10 No 11, Etude in E♭ major
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The missing arpeggios in the R.H. in A are certainly Chopin's oversight. category imprint: Differences between sources issues: Authentic corrections of FE , Inaccuracies in A |
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b. 36-43
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composition: Op. 10 No 11, Etude in E♭ major
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The arpeggios, omitted in A certainly due to distraction (haste), were added in a proofreading of FE (apart from the part of the L.H. in bar 38). GE and EE have all necessary wavy lines. category imprint: Differences between sources issues: Errors of A , Authentic corrections of FE |
