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Issues : Omission of current key accidentals
b. 16
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composition: Op. 10 No 11, Etude in E♭ major
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In A there is no category imprint: Differences between sources issues: Omission of current key accidentals , Authentic corrections of FE |
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b. 22
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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: Omission of current key accidentals , Errors of A , Authentic corrections of FE |
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b. 37-38
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composition: Op. 10 No 11, Etude in E♭ major
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In A there are no flats lowering d2-d3 to d category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , GE revisions , Omission of current key accidentals , Errors of A |
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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. 46
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composition: Op. 10 No 11, Etude in E♭ major
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The main text is the version written by Chopin in FED as an addition to the version of A (→FE→GE,EE). We give priority to the entry to the pupils' copy, as this kind of variation of repeating phrases is very characteristic for Chopin; he would often introduce it in the last phase of composing or to already finished pieces (cf. the Mazurka in G minor, Op. 24 No. 1, bars 57 and 59). In this situation an additional argument is the analogy to bar 27. We add the category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Annotations in FED , Omission of current key accidentals , Authentic post-publication changes and variants |