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Issues : Authentic corrections of FE
b. 28-32
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composition: Op. 10 No 5, Etude in G♭ major
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Chopin added the pedalling in a proofreading of FE. The category imprint: Interpretations within context; Differences between sources issues: Errors in FE , GE revisions , Authentic corrections of FE , No pedal release mark |
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b. 29-30
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composition: Op. 10 No 5, Etude in G♭ major
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The sources display a great variety of staccato marks over the first two quavers in these bars. In the main text we give the elements of indisputable authenticity – the wedge of A in bar 29 and the dots added by Chopin in a proofreading of FE in bar 30. According to us, the indications of FE and EE4 may also be included in the versions which are potentially compatible with Chopin's intention. category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , Authentic corrections of FE , Wedges |
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b. 31-32
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composition: Op. 10 No 5, Etude in G♭ major
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The dashes limiting the range of cresc. were added in a proofreading of FE (→EE). In GE the word crescendo was divided into syllables. category imprint: Differences between sources issues: GE revisions , Authentic corrections of FE |
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b. 32
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composition: Op. 10 No 5, Etude in G♭ major
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In the chord on the 2nd beat in the bar Chopin changed d category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 33-36
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composition: Op. 10 No 5, Etude in G♭ major
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The dynamic hairpins were added by Chopin during a proofreading of FE (→GE,EE), thus we give them in this form in the main text. Taking into account possible inaccuracies of the signs' range due to the division into great staves, as an alternative we suggest the version in which the signs in this and the next four-bar section were unified. category imprint: Interpretations within context; Differences between sources issues: Authentic corrections of FE |