Issues : GE revisions
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b. 24
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composition: Op. 10 No 4, Etude in C♯ minor
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We add a cautionary category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions , Cautionary accidentals |
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b. 26
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composition: Op. 10 No 4, Etude in C♯ minor
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In AI and FE (→EE2) there is no category imprint: Differences between sources issues: EE revisions , Errors in FE , Accidentals in different octaves , GE revisions , Errors of A |
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b. 29-30
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composition: Op. 10 No 4, Etude in C♯ minor
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The accents in bar 29 are clearly longer in #A than in bars 27-28 and 30. In GE1 (→GE1a), such longer accents were used in both discussed bars. The erroneous reproduction of the short accents of the autograph as long would not take place at all and it seems unlikely that Chopin would have liked to differentiate between the accents in these two bars. Taking into account the above, in the main text we give eight long accents. category imprint: Interpretations within context; Differences between sources issues: Long accents , GE revisions , EE inaccuracies |
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b. 29-30
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composition: Op. 10 No 4, Etude in C♯ minor
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Lack of the slur in bar 30 in FE (→EE2,GE1→GE1a) must be regarded an inaccuracy, presumably an oversight of the engraver – slurs encompass remaining similar motives in the discussed bars. The lack of the 2nd slur in bar 29 in GE3 is undoubtedly an engraver's error. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , Errors in GE , GE revisions |
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b. 33-37
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composition: Op. 10 No 4, Etude in C♯ minor
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Chopin's fingering given in bars 33 and 37 in the main text originates from FE (→EE,GE1→GE1a→GE2). In GE3 another two numerals were added in bar 33 and in GE4 (→GE5) the fingering of both bars was unified, by giving only the first five numerals in each of them. category imprint: Differences between sources issues: GE revisions |
before a
1. The sign was added in 
before the upper note of the octave (b2). This patent – and typical – inaccuracy of Chopin's notation was corrected in 
