Issues : Authentic corrections of FE
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b. 45
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composition: Op. 10 No 5, Etude in G♭ major
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GE1 has a category imprint: Interpretations within context; Differences between sources issues: Errors in FE , GE revisions , Authentic corrections of FE |
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b. 45-46
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composition: Op. 10 No 5, Etude in G♭ major
category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 45-47
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composition: Op. 10 No 5, Etude in G♭ major
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The staccato dots at the beginning of bars 45 and 47 were added in a proofreading of FE to the dot written in A over the 2nd quaver in bar 47 (it cannot be excluded that the dot of A was overlooked and Chopin added all three marks at the time of proofreading FE). In EE the sign at the beginning of bar 47 was omitted, perhaps as a result of an oversight or revision. In turn, lack of the dot in this place in GE3 (→GE4) must be an error, corrected in GE5. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions , EE inaccuracies , Authentic corrections of FE |
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b. 45-46
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composition: Op. 10 No 5, Etude in G♭ major
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It is unclear how the discrepancies between A and FE surfaced. Allegedly, there are a few factors to be considered: the inaccurately recreated hairpins of A and an ad hoc proofreading by Chopin in FE (→GE1,EE). In the main text we suggest a set chosen from the signs of FE, following the natural phrasing, which also stems from the notation of A. In GE2, and to a lesser extent in subsequent GE,s, the signs between the staves were assigned to the part of the R.H. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , Authentic corrections of FE |
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b. 47
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composition: Op. 10 No 5, Etude in G♭ major
category imprint: Differences between sources issues: Errors in FE , Errors in GE , Authentic corrections of FE |
before the topmost note of the last chord. This quite obvious error was originally also in 
in 
