b. 40-42
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composition: Op. 10 No 4, Etude in C♯ minor
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In AI there are a few additional or unnecessarily repeated accidentals ( before a, the 11th note in the L.H. in bar 40 and before f, the 11th note in bar 41), or totally unjustified ( before d2, the 6th note in bar 40 and before d, the 2nd note in bar 41). In FE (→EE,GE1→GE1a→GE2→GE3) only before f, the 11th note in bar 41 remained, first removed in GE4 (→GE5). category imprint: Differences between sources; Source & stylistic information issues: GE revisions , Last key signature sign |
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b. 40
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composition: Op. 10 No 4, Etude in C♯ minor
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No accents in FE (→EE,GE1→GE1a→GE2→GE3) is probably a result of an oversight (Chopin's or the engraver's). In GE4 (→GE5) the first of the overlooked sign was added (in the form of hairpins). category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 41-42
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composition: Op. 10 No 4, Etude in C♯ minor
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The fingering added in EE comes from Fontana. category imprint: Differences between sources issues: EE revisions |
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b. 41
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composition: Op. 10 No 4, Etude in C♯ minor
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In AI Chopin overlooked the before the last semiquaver (A). category imprint: Differences between sources issues: Accidentals in different octaves , Omission of current key accidentals , Errors of A |
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b. 42
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composition: Op. 10 No 4, Etude in C♯ minor
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When interpreted literally, AI has in the last group of semiquavers two notes different than in the published version: the 2nd semiquaver a (without ) and the 4th semiquaver A. According to us, it is a result of overlapping of inaccuracies and corrections, while the text intended by Chopin does not differ from the text of the remaining sources:
In the main text we give the version of FE (→GE,EE), completed with the cautionary before g. category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations |