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Issues : Annotations in teaching copies
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b. 41-42
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composition: Op. 10 No 3, Etude in E major
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The majority of the digits of the fingering added in FES is not written with Chopin's hand, which, however, does not question the authenticity of these indications, yet it increases a possibility of potential errors (e.g. on the 4th semiquaver of the bar, the top '4' is definitely erroneous, most probably it was supposed to be a '1'). The fingering could have been dictated by the composer, yet taking into account the fact that this entire virtuoso fragment is deleted in FES, it seems to be more likely that it was rewritten from another pupils' copy. category imprint: Differences between sources |
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b. 41-54
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composition: Op. 10 No 3, Etude in E major
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The deletions in bars 41-53, visible in FES and FEJ, are continuation of an abbreviation (which started in bar 36), facilitating an amateur performance of the Etude. In both copies, it was also the beginning of bar 54 that was modified, yet an accurate interpretation of Chopin's intention is not that easy there. The suggested interpretations do not exhaust all possibilities of interpretation of these entries. category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEJ |
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b. 42
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composition: Op. 10 No 3, Etude in E major
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The fingering in EE is an addition by Fontana. In the main text we include the digit written at the end of the bar in FES, indicating the same, natural fingering – see bars 41-42. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FES |
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b. 47
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composition: Op. 10 No 3, Etude in E major
category imprint: Differences between sources |
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b. 61
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composition: Op. 10 No 3, Etude in E major
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The indication category imprint: Interpretations within context; Differences between sources |
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