Issues : Authentic corrections of FE
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b. 51-52
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composition: Op. 10 No 7, Etude in C major
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In A the slur – led over the notes – ends over the 2nd quaver in bar 51, which certainly stems from the inability to lead it further due to the part of the R.H., written on the lower stave. However, it is not certain how far Chopin would have led it if it had not been for graphic difficulties. We assume that, similarly as in analogous bar 49, the slur was supposed to end on the last quaver in bar 51. The slur of FE (→GE,EE), led to the beginning of bar 52, was most probably added by Chopin at the time of proofreading FE. It is of minor significance whether Chopin extended the slur reflecting the notation of A or added a new slur after having noticed its absence. category imprint: Differences between sources |
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b. 54-55
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composition: Op. 10 No 7, Etude in C major
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Different accents of FE (→GE,EE) are certainly a result of Chopin's proofreading of FE. The accents in A should rather be considered as long, yet the marks in FE (→GE,EE) already resemble common short accents. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 56
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composition: Op. 10 No 7, Etude in C major
category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 56
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composition: Op. 10 No 7, Etude in C major
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Change of the rhythmic value of the C-G fifth is probably a result of Chopin's proofreading of FE (→GE,EE). However, it is uncertain what was the element Chopin was proofreading, it could have been an erroneous version, e.g., a misplaced rest. While applying the original pedalling, both notations are equal. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
