Articulation, Accents, Hairpins
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b. 2-11
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composition: Op. 10 No 4, Etude in C♯ minor
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In AI, the staccato articulation of the quavers, separated with rests, accompanying the semiquaver figuration (in bars 1-3, 5-6, 9-11), is marked only in bars 1 and 5. There is no doubt that the dots written there are to be understood as a model, hence valid also in the remaining bars. 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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EE2 omits accents, which was corrected in EE3 (→EE4), by changing the signs in the 2nd half of the bar for vertical accents. category imprint: Differences between sources issues: EE revisions , Errors in EE |
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b. 8
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composition: Op. 10 No 4, Etude in C♯ minor
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The indications of AI were changed in the version prepared for print, certainly with the participation of Chopin. Therefore, in the main text we give the version of FE (→EE). However, some of its elements can raise certain doubts, particularly the category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Inaccuracies in FE , Errors in GE , Authentic corrections of FE |
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b. 9-11
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composition: Op. 10 No 4, Etude in C♯ minor
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The hairpins of AI, leading to category imprint: Differences between sources issues: Inaccuracies in GE , EE inaccuracies |
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b. 11
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composition: Op. 10 No 4, Etude in C♯ minor
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We suggest to add an accent after the sign in analogous bar 61. In similar contexts, the crotchets at the end of bar are always accentuated – cf. bars 16, 18, 20, 22 and 25-26. The addition – probably on the same basis – was introduced already in EE3 (→EE4) and GE4 (→GE5). category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
in 
in 
in bars 10-11 in 
in bar 11, is an earlier concept of dynamic indications. In the main text we stick to the version of 
