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Issues : EE revisions
b. 4-12
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composition: Op. 10 No 5, Etude in G♭ major
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We consider the marks written in A under the chords in bars 4 and 12 as long accents. Only first of them was reproduced in FE (→EE2). In GE the sign in bar 4 became a common short accent and in bar 12 both chords were provided with staccato dots. In EE3 (→EE4) a short accent was added in bar 12. According to us, only the version of A is authentic. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE , Inaccuracies in FE , GE revisions |
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b. 5-13
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composition: Op. 10 No 5, Etude in G♭ major
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Chopin added the pedalling in bars 5 and 13 in a proofreading of FE. At the same time, the category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: EE revisions , Inaccuracies in FE , GE revisions , Authentic corrections of FE , No pedal release mark |
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b. 5-6
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composition: Op. 10 No 5, Etude in G♭ major
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The only staccato sign in A is the wedge at the beginning of bar 6. The dots in bars 6 were added by Chopin in a proofreading of FE (→GE1→GE1a→GE2 category imprint: Differences between sources issues: EE revisions , Errors in EE , Authentic corrections of FE |
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b. 7
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composition: Op. 10 No 5, Etude in G♭ major
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EE2 does not have the accent added in EE3 (→EE4) together with staccato dots under the quavers (probably by analogy with bar 15). In GE a short accent was applied and moved over the crotchet. In the main text we preserve the notation of A (→FE). category imprint: Differences between sources issues: Long accents , EE revisions , Placement of markings , Errors in EE , GE revisions |
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b. 12
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composition: Op. 10 No 5, Etude in G♭ major
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In A the head of the note embraces the area of two notes, d category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: EE revisions , Corrections in A , GE revisions |