Verbal indications
|
b. 1
|
composition: Op. 10 No 4, Etude in C♯ minor
..
Chopin did not write the title of the piece in AI, although it is hard to believe that in August 1832, at the stage of completing the entire Op. 10, he could have even considered naming it differently than Etude. The conviction is not hampered by the fact that at the end of the editorial autograph of the Etude in E major, No. 3, Chopin uses the determination of tempo-character il presto con fuoco for the identification of the subsequent etude in the collection. In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and the dedication (in EE) most probably come from the editors. See the Etude in C major, No. 1, bar 1. category imprint: Differences between sources issues: EE revisions , Errors in FE , Dedications , GE revisions |
||||||||||||||||||
|
b. 1
|
composition: Op. 10 No 4, Etude in C♯ minor
..
In the main text we suggest an indication composed of the elements whose authenticity seems to be most plausible: category imprint: Differences between sources issues: Inaccuracies in FE , fz – f |
||||||||||||||||||
|
b. 1
|
composition: Op. 10 No 4, Etude in C♯ minor
..
The metronome tempo marking was added – undoubtedly by Chopin – only at the stage of preparing the Etude for print: in [A] or in a proofreading of FE. category imprint: Differences between sources issues: Metronome tempos |
||||||||||||||||||
|
b. 1
|
composition: Op. 10 No 4, Etude in C♯ minor
..
The crescendo indicated in this place most probably leads to category imprint: Differences between sources; Corrections & alterations |
||||||||||||||||||
|
b. 4
|
composition: Op. 10 No 4, Etude in C♯ minor
category imprint: Differences between sources |
in 
in 
