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b. 52-53
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composition: Op. 10 No 10, Etude in A♭ major
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Same as in bars 50-51, we consider the omission of the tie by the engraver of FE to be more plausible than Chopin's possible proofreading of FE. However, in this place a tie was added both in GE and EE. category imprint: Differences between sources issues: EE revisions , Errors in FE , GE revisions |
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b. 53
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composition: Op. 10 No 10, Etude in A♭ major
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In FE (→EE) the double flat was erroneously placed before the bottom note of the third. However, this patent inaccuracy was corrected only in GE. category imprint: Differences between sources issues: Errors in FE , GE revisions |
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b. 54-55
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composition: Op. 10 No 10, Etude in A♭ major
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In bar 54 Fontana carefully fingered the entire passage of the L.H., in a way which was probably in Chopin's mind (which results from the natural position of the hand). In turn, in bar 55 he gave fingering of the figuration which differs from the one from bars 1-2 only in the bass notes, which does not have any influence on the fingering. See also the note on the R.H. category imprint: Differences between sources issues: EE revisions |
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b. 54
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composition: Op. 10 No 10, Etude in A♭ major
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Omission of the category imprint: Differences between sources issues: Errors in FE , Errors in EE , GE revisions |
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b. 55
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composition: Op. 10 No 10, Etude in A♭ major
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While completing the fingering in EE, Fontana generally repeated his indications from bar 1, modeled on the ones by Chopin. category imprint: Differences between sources issues: EE revisions |
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