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Issues : Authentic corrections of FE
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. 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. 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 |
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b. 21-26
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composition: Op. 10 No 4, Etude in C♯ minor
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It is hard to determine whether it was Chopin that introduced the change of key marking – in [A] or proofreading FE – or it was a result of the engraver's error. The error is justified with flats before g category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 26
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composition: Op. 10 No 4, Etude in C♯ minor
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AI has a g category imprint: Differences between sources issues: Errors in GE , Authentic corrections of FE |