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Issues : EE revisions
b. 16
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composition: Op. 10 No 5, Etude in G♭ major
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The category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , GE revisions , Authentic corrections of FE , No pedal release mark |
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b. 17-22
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composition: Op. 10 No 5, Etude in G♭ major
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We give the fingering digits in bars 17-18 and 21-22 after A. In FE (→GE) the '1' digits were omitted at the end of bars 18 and 22, which we consider as a result of distraction. In EE Fontana added 9 digits, precising the fingering stemming from Chopin's hints and analogies. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE |
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b. 19-20
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composition: Op. 10 No 5, Etude in G♭ major
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On the basis of Chopin's fingering given at the beginning of bar 19 in A (→FE→GE), Fontana added hints in the further part of bars 19 and in bar 20 in EE. category imprint: Differences between sources issues: EE revisions |
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b. 24-25
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composition: Op. 10 No 5, Etude in G♭ major
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We suggest to add a slur on the basis of the analogous situation in bars 28-29, in which Chopin wrote a relevant slur in A. category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 25
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composition: Op. 10 No 5, Etude in G♭ major
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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 |