Issues : Authentic corrections of FE
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b. 27-28
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composition: Op. 10 No 4, Etude in C♯ minor
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Lack of accents in bar 27 in GE may be a result of an oversight or indicate to their addition in the last proofreading of FE (→EE). Four accents in bar 28 are clearly longer in GE1 (→GE1a) than in the remaining editions, see also the note to bars 29-30. category imprint: Differences between sources issues: Long accents , Errors in GE , Authentic corrections of FE |
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b. 37
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composition: Op. 10 No 4, Etude in C♯ minor
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In AI there is no cautionary before e1. The sign was most probably added in a proofreading of FE (→GE,EE). category imprint: Differences between sources issues: Cautionary accidentals , Authentic corrections of FE |
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b. 53
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composition: Op. 10 No 4, Etude in C♯ minor
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Same as in bar 3, the version of AI had to be also in [A], as there are visible traces of its deletion in FE. Similarly in bars 11 and 61. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 53
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composition: Op. 10 No 4, Etude in C♯ minor
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In the main text we give the rhythm of FE (→EE), which probably represents the latest intention of Chopin, written in [A] or introduced in a proofreading of FE. The composer could have wanted to reinforce the return of the initial fragment of the piece (cf. the note on the accent). The dynamic and rhythmic motif of the last accentuated crotchet of the bar is one of the most characteristic sound phenomena of the Etude. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 61
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composition: Op. 10 No 4, Etude in C♯ minor
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Same as in bar 11, the version of AI had to be also in [A], as there are visible traces of its deletion in FE. Similarly in bars 3 and 53. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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