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b. 7-15
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composition: Op. 10 No 6, Etude in E♭ minor
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In the context of the 1st half of bars 7 and 15, the position of the fingering digits indicates the hand with which a given note is to be performed: digits over the notes point to the R.H., digits under the notes – to the L.H. This characteristic fingering was indicated by Chopin in A (→FE) in each appearance of this place (bars 7, 15 and 47). The sense of this fingering, completed already in a proofreading of FE in the 2nd half of bar 7, was not understood by the engraver of GE who arranged all digits over the tie. Fontana also misinterpreted it, as in EE he indicated another division between the hands. category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE , Authentic corrections of FE |
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b. 7-15
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composition: Op. 10 No 6, Etude in E♭ minor
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The '1' fingering digit written in A in bar 7 over the fourth in the R.H. may refer only to its bottom note, therefore, we move it under the stave (the atypical position of this digit can be explained with the fact that Chopin, allegedly, planned to include the fingering for both notes of the fourth). In FE (→GE) the hint was omitted, perhaps due to a misunderstanding of its meaning. In the fingering added by Fontana in EE (in bars 7 and 15) the bottom note is supposed to be struck with the 3rd finger, while the changes introduced in the fingering of semiquavers prove that the composer's friend completely misinterpreted Chopin's indications in this case. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Inaccuracies in FE |
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b. 8
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composition: Op. 10 No 6, Etude in E♭ minor
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The non-slashed grace note in A (→FE) was considered in GE and EE as the notation's inaccuracy. In Chopin's notation, non-slashed grace notes are often treated interchangeably with slashed ones. However, the erasures visible in this place in A suggest that Chopin corrected the rhythmic notation here and he may have thought about a classical long grace note. category imprint: Differences between sources issues: EE revisions , GE revisions |
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b. 8
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composition: Op. 10 No 6, Etude in E♭ minor
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In A there is no category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , Errors of A , Authentic corrections of FE |
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b. 8
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composition: Op. 10 No 6, Etude in E♭ minor
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In the main text we put cresc. over the part of the R.H., in accordance with A. In the editions it was placed between the staves, which in this case makes no big difference, as the part of the L.H. is also to be performed crescendo. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in FE |
returning d
