Pitch
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b. 3
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composition: Op. 10 No 4, Etude in C♯ minor
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The version of AI had to be also in [A], as the traces of its deletion are visible in FE. Similarly in bar 53, as well as in bars 11 and 61. The corrections visible in the discussed bar in AI prove that from the outset Chopin wavered as to the L.H. chords positions. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 4
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composition: Op. 10 No 4, Etude in C♯ minor
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The visible in AI corrections reveal Chopin's original concept of the figuration in the part of the R.H.: category imprint: Corrections & alterations |
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b. 9
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composition: Op. 10 No 4, Etude in C♯ minor
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Chopin changed the first quaver in this bar a few times. In AI one can still see the deleted C category imprint: Differences between sources; Corrections & alterations |
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b. 9
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composition: Op. 10 No 4, Etude in C♯ minor
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In the version prepared for print Chopin resigned from g category imprint: Differences between sources; Corrections & alterations |
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b. 11
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composition: Op. 10 No 4, Etude in C♯ minor
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Similarly as in bar 3, the original version of AI had to be also in [A], as the traces of deleting the treble and bass clefs – used for its notation – are visible in FE. Chopin introduced analogous changes also while repeating this phrases in bars 53 and 61. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
-c
