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b. 3
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composition: Op. 10 No 4, Etude in C♯ minor
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The arpeggio mark before the first tenth chord of the Etude is, according to us, to be understood as a general indication, concerning all analogous situations (bars 11, 53 and 61). See also the next note. category imprint: Differences between sources |
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b. 3
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composition: Op. 10 No 4, Etude in C♯ minor
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It is hard to determine whether the slurs were already in [A] or whether they were added in a proofreading of FE (→GE,EE). Anyway, the slurs of unquestioned authenticity in this first out of a few similar places – also bars 11, 53 and 61 – may be easily considered as valid also in the remaining ones, devoid of slurring. category imprint: Differences between sources |
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b. 4
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composition: Op. 10 No 4, Etude in C♯ minor
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While adding the fingering in EE, Fontana indicated the fingering of the five-note chord at the end of the bar. It suggests that, according to him, striking simultaneously two black keys with the 1st finger was not a generally known grip. category imprint: Differences between sources issues: EE revisions |
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b. 4-6
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composition: Op. 10 No 4, Etude in C♯ minor
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The fingering in EE was Fontana's addition. The fingering in bar 6 is contrary to the indications written in FES, probably by Chopin, in a pianistically similar place, in bar 20. category imprint: Differences between sources issues: EE revisions |
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b. 4-6
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composition: Op. 10 No 4, Etude in C♯ minor
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Both lack of the slur in bar 6 in AI and in bars 4-5 in FE (→GE1,EE) may be considered as inaccuracy of notation related to the transition to the new line (such situations are very frequent in Chopin's pieces, e.g., in the Etude in F major, No. 8, bars 34-36 and 61 or E category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Inaccuracies in FE |
major, No. 11 bars