Issues : EE revisions
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b. 52
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composition: Op. 10 No 9, Etude in F minor
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Lack of the raising d1 to d1 is a patent inaccuracy of the notation of A (→FE→EE3). The sign was added in GE and EE4. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions |
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b. 57-63
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composition: Op. 10 No 9, Etude in F minor
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Chopin added the digit '4' in the 2nd half of bar 57 at the time of proofreading FE (→GE). In EE Fontana added '3' on the 2nd semiquaver in this bar and repeated this fingering scheme (3-4) in the next six bars. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 64-65
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composition: Op. 10 No 9, Etude in F minor
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In A Chopin marked only the pedal sustention of the F bass note as the sound base of three last chords. He then improved this pedalling, while proofreading FE (→GE). The reviser of EE in a sense returned to Chopin's original idea by adding a change of pedal at the beginning of bar 65. See also bar 67. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Authentic corrections of FE |
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b. 65-67
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composition: Op. 10 No 9, Etude in F minor
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In the main text we consider the fingering of the L.H., added by Chopin in FED. In EE Fontana added the fingering both in the right and L.H. The latter is partially compatible with Chopin's entry in a pupil's copy. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED |
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b. 67
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composition: Op. 10 No 9, Etude in F minor
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Omission of the mark at the end of the pieces is characteristic for Chopin's pedalling and is featured in numerous works, e.g., in the Etudes in C major, No. 1, C minor, No. 4, C major, No. 7, F major, No. 8, E major, No. 11. The revisers of GE and EE considered it as an inaccuracy of notation of FE. category imprint: Differences between sources issues: EE revisions , GE revisions , No pedal release mark |
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