|
b. 24
|
composition: Op. 10 No 5, Etude in G♭ major
..
In A (→EE,GE1→GE2→GE3) there is an unnecessarily repeated category imprint: Source & stylistic information |
||||||||||||||
|
b. 24-26
|
composition: Op. 10 No 5, Etude in G♭ major
..
The difference in placing the poco a poco cresc. indication between A and FE (→GE,EE) is, according to us, too significant to consider it only as a result of the engraver's inaccuracy. Due to this fact, considering the hint of FE as the expression of Chopin's latest intention, we give it in the main text. However, the version of A may certainly be considered as equal. The patent error in form of lack of the conjunction 'a' in FE (→EE) was corrected in GE. category imprint: Interpretations within context; Differences between sources |
||||||||||||||
|
b. 24-27
|
composition: Op. 10 No 5, Etude in G♭ major
..
The pedalling added by Chopin in a proofreading of FE is inaccurately written, probably due to the lack of space in tightly packed text on the page. It resulted in different attempts of interpretation by the engravers of GE and EE. In the main text we interpret the pedalling of FE as the natural harmonic pedalling, in accordance with the one which was undeniably marked in bars 29-30. category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources issues: Inaccuracies in GE , GE revisions , EE inaccuracies , Authentic corrections of FE |
||||||||||||||
|
b. 25-26
|
composition: Op. 10 No 5, Etude in G♭ major
..
In A the slurs running from the beginning of these bars reach g category imprint: Differences between sources issues: Inaccuracies in FE , GE revisions |
||||||||||||||
|
b. 25
|
composition: Op. 10 No 5, Etude in G♭ major
..
It is hard to define how the discrepancies between the sources were created; it could have been, e.g., a combination of Chopin's last proofreading of FE (change of '4' to '3'), not included in GE, and Fontana's revision in EE (change of '3' to '4'). The comfort of performance speaks against this possibility, as the 4th finger is a more natural solution after the 3rd one at the end of the previous bar. However, the strength of this argument is weakened by the indication of the 3rd finger at the end of bar 25, certainly by Chopin, yet unjustified with the position of the fingers. Therefore, in the main text we suggest both versions. category imprint: Differences between sources issues: EE revisions , GE revisions , Differences in fingering , Authentic corrections of FE |
before the upper note of the octave at the end of the bar.
3, which we give in the main text. In 
