Issues : Inaccuracies in FE
|
b. 17-19
|
composition: Op. 10 No 6, Etude in E♭ minor
..
We consider the lack of the dashes determining the range of cresc. in FE (→GE,EE) as an inaccuracy, often found in first editions of Chopin's works. category imprint: Differences between sources issues: Inaccuracies in FE |
|||||||||||
|
b. 21-22
|
composition: Op. 10 No 6, Etude in E♭ minor
..
The signs visible in A at the beginning of these bars have an almost identical shape, however, the one in bar 21 is almost three times bigger. The second sign seems to be a quite typical long accent, yet it is unclear whether the same can be said of the first one. This is even more complicated by the fact that none of them is included in FE (→GE,EE). In the main text we propose a long accent in bar 22, which does not raise any graphical nor musical doubts. category imprint: Interpretations within context; Differences between sources issues: Long accents , Inaccuracies in FE |
|||||||||||
|
b. 21
|
composition: Op. 10 No 6, Etude in E♭ minor
..
The fact of placing e1 on the upper stem in the editions extended its rhythmic value to a crotchet, which runs counter to the logic of voice-leading. category imprint: Differences between sources issues: Inaccuracies in FE |
|||||||||||
|
b. 23
|
composition: Op. 10 No 6, Etude in E♭ minor
..
The accent of A, perhaps accidentally omitted in the editions, may either be assigned to the R.H. (our main text) or to the left one. category imprint: Interpretations within context; Differences between sources issues: Long accents , Inaccuracies in FE |
|||||||||||
|
b. 24
|
composition: Op. 10 No 6, Etude in E♭ minor
..
In the main text we give the hairpins after A. In FE (→GE,EE) they were aligned to the third of the upper voice, which most probably was a manner of the engraver of FE. In GE5 the direction of the mark was reversed. category imprint: Differences between sources issues: Inaccuracies in FE , GE revisions , Sign reversal |
in 
in