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Issues : Authentic corrections of FE
b. 21-23
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composition: Op. 10 No 9, Etude in F minor
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The sources are missing some of the flats before g category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions , Omission of current key accidentals , Authentic corrections of FE , Inaccuracies in A |
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b. 22
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composition: Op. 10 No 9, Etude in F minor
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Chopin's fingering in bar 22, both in the R.H. and the L.H. was added in a proofreading of FE (→GE). In EE the fingering of the L.H. was added by Fontana (also in the next bars), what is more, he changed one of the digits given by Chopin. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 22-23
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composition: Op. 10 No 9, Etude in F minor
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After the category imprint: Differences between sources; Editorial revisions issues: EE revisions , Inaccuracies in FE , GE revisions , Authentic corrections of FE , No pedal release mark |
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b. 25-27
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composition: Op. 10 No 9, Etude in F minor
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In AI Chopin would generally write accidentals only next to the upper notes of the octaves. The only sign before a bottom note is the category imprint: Differences between sources issues: Accidentals in different octaves , Errors of A , Authentic corrections of FE |
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b. 27
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composition: Op. 10 No 9, Etude in F minor
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The notation with E, present in both autographs, was changed – most probably by Chopin – in a proofreading of FE (→GE,EE). According to us, it is however possible that the proofreading concerned an erroneous version – e.g., a sole note head without the ledger line and natural, due to which it looked like an F. It undermines the expression of this change as proving Chopin's preference of the notation with F category imprint: Differences between sources issues: Enharmonic corrections , Authentic corrections of FE |