



b. 1
|
composition: Op. 10 No 6, Etude in E♭ minor
category imprint: Differences between sources issues: Authentic corrections of FE |
||||||||
b. 1-10
|
composition: Op. 10 No 6, Etude in E♭ minor
..
The omission of '1' at the end of bars 1 and 9 in FE (→GE) could be blamed on the engraver's distraction and considered as the notation's inaccuracy, if it was not for a simultaneous addition of '2' at the end of bars 2-3. According to us, regardless of the reason for omitting these digits, the final effect of the changes in FE must be accepted as deliberate and valid. Allegedly, Chopin assumed that the hand position in bars 1-2 is not as important as in bars 3-4. In EE the addition by Fontana in bar 1 complies with the fingering written by Chopin in A, yet in bars 9-10 – it does not. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
||||||||
b. 1-9
|
composition: Op. 10 No 6, Etude in E♭ minor
..
In A the first long note of the theme, g category imprint: Differences between sources issues: Long accents |
||||||||
b. 1
|
composition: Op. 10 No 6, Etude in E♭ minor
..
In the main text we reproduce the category imprint: Differences between sources issues: Inaccuracies in FE |
||||||||
b. 2-11
|
composition: Op. 10 No 6, Etude in E♭ minor
..
Chopin changed the version of the last semiquaver in bars 2 and 10 written in A while he was proofreading FE (→GE,EE). Traces of this proofreading are clearly visible in both bars. What is interesting is the fact that in bar 2 A had initially another version, in which a
In bar 2 the added note a category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Chopin's hesitations , Authentic corrections of FE |