Issues : Authentic corrections of FE
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b. 56
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composition: Op. 10 No 9, Etude in F minor category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 56-58
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composition: Op. 10 No 9, Etude in F minor
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The slurs in bars 57-58 (with the last quaver in bar 56) adopted to the main text are a result of Chopin's proofreading of FE (→GE,EE). In A the only marks which could indicate articulation in this section appear in the 1st half of bar 57. We interpret them as a dot and slur, although their meaning is uncertain. category imprint: Differences between sources issues: Authentic corrections of FE |
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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. 58
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composition: Op. 10 No 9, Etude in F minor
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All performance indications in the R.H. – dots, accents and slurs – were added by Chopin in a proofreading of FE (→GE,EE). According to us, the engraver, by adding a short accent to the g1 crotchet, could have misinterpreted Chopin's entry in a proof copy. Therefore, in the main text we propose a long accent – cf. the note to bars 61-62. category imprint: Interpretations within context; Differences between sources issues: Long accents , 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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