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b. 47
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composition: Op. 10 No 4, Etude in C♯ minor category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 47-50
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composition: Op. 10 No 4, Etude in C♯ minor
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In the main text we include the numeral added in bar 47 in FES and two which complete it, yet coming from AI. Fontana's fingering in EE diverts from Chopin's indications also in this place. Fontana gave two fingering variants. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FES |
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b. 47-50
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composition: Op. 10 No 4, Etude in C♯ minor
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In AI the slur in these bars starts only on the last group of semiquavers in bar 50. The slurring of FE is complete, yet unclear – in bars 47 and 49, at the end of the line, the slurs are clearly extended, suggesting continuation. However, the slurs in bars 48 and 50, starting from the 1st semiquaver, do not confirm this suggestion. This ambiguity was revised both in GE, by clearly combining the slurs (in the previous GE the slurs were combined only in bars 49-50), and in EE, in which each bar is provided with a separate slur. We suggest here one slur, as breaking the slur at the beginning of bar 49 could also have been caused by misunderstanding of the notation of [A] (perhaps inaccurate due to the abbreviated notation?). category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources; Corrections & alterations |
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b. 48-49
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composition: Op. 10 No 4, Etude in C♯ minor
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In AI the chord in bar 48 is provided neither with a staccato dot nor with the category imprint: Differences between sources |
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b. 48-49
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composition: Op. 10 No 4, Etude in C♯ minor
category imprint: Differences between sources; Corrections & alterations |
before d
1. The addition was already introduced in 
sign. The same applies to bar 49, which is marked in this manuscript as 
