b. 3
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composition: Op. 10 No 6, Etude in E♭ minor
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The sign at the beginning of bar 3 in A (→FE→GE,EE) may be considered as hairpins, especially due to the fact that it is between the staves. However, a comparison with analogous bars 11 and 43 shows that we are probably dealing with an unfortunately placed long accent mark and this is the interpretation we suggest in the main text. category imprint: Interpretations within context; Differences between sources issues: Long accents |
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b. 3-4
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composition: Op. 10 No 6, Etude in E♭ minor
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Bar 3 in A (→FE→GE1→GE2→GE3) repeats the from the 1st half of the bar before g in the 2nd half of it. The before f in the 2nd half of bar 4 is similarly repeated. The unnecessary signs were removed in GE4 (→GE5). In analogous bars 11-12 and 43-44 the signs do not appear in any of the sources. category imprint: Differences between sources issues: Cautionary accidentals |
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b. 4
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composition: Op. 10 No 6, Etude in E♭ minor
category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 4-13
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composition: Op. 10 No 6, Etude in E♭ minor
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We add cautionary flats before e1 in bars 4 and 12 and e in bars 5 and 13. First three were already added in GE and EE4. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 5-13
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composition: Op. 10 No 6, Etude in E♭ minor
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The '1' digits at the end of bars 5 and 13 (and 45) are written in A. It is hard to determine why none of them is present in FE (→GE,EE). In any case, Chopin's entry in FES in bars 45-46 confirms both the fingering and the need for its indication. Therefore, in the main text we give the 1s written in A. (The fingering written in FES in bar 46 is also given by us in bar 6 – cf. General Editorial Principles, p. 17.) category imprint: Differences between sources issues: Inaccuracies in FE |