Issues : Authentic corrections of FE
b. 49-54
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composition: Op. 10 No 5, Etude in G♭ major
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The staccato dots in bars 49-51 and 53-54 were added by Chopin in a proofreading of FE (→GE,EE). In A there are only two wedges at the beginning of bars 50 and 54. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 50-54
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composition: Op. 10 No 5, Etude in G♭ major
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The pedal marks in bars 50 and 54 were added by Chopin in a proofreading of FE (→GE1). Lack of in bar 54 seems to be a result of an oversight, therefore, we add it under the 2nd quaver (the main text, after the pedalling of FE in bar 6) or under the 3rd quaver (an alternative suggestion, based on the pedalling of FE in bar 14 and adopted in bar 54 already in EE and subsequent GE,s). category imprint: Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations issues: EE revisions , Inaccuracies in FE , GE revisions , Authentic corrections of FE , No pedal release mark |
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b. 50-54
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composition: Op. 10 No 5, Etude in G♭ major
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Chopin removed the lower notes of the chords on the 2nd and 3rd quavers in bars 50 and 54 while proofreading FE (→GE,EE). category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 51
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composition: Op. 10 No 5, Etude in G♭ major
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In the main text we give the pedalling added by Chopin in a proofreading of FE (→GE,EE). As an alternative we suggest the indications of FE – also based on Chopin's proofreading – from analogous bar 3. category imprint: Interpretations within context; Corrections & alterations issues: Authentic corrections of FE |
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b. 52
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composition: Op. 10 No 5, Etude in G♭ major
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In the main text we give the pedalling of FE (→GE,EE), based on Chopin's entry in the proof copy of FE. An alternative suggestion is the version (also being a result of Chopin's proofreading in FE) included in analogous bars 4 and 12. category imprint: Interpretations within context issues: Authentic corrections of FE |