Issues : Inaccuracies in GE
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 in bar 11, is an earlier concept of dynamic indications. In the main text we stick to the version of FE, reproduced with minor inaccuracies also in GE and EE. category imprint: Differences between sources issues: Inaccuracies in GE , EE inaccuracies |
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b. 17-18
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composition: Op. 10 No 4, Etude in C♯ minor
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The slur in bar 17, despite that in AI it starts only from the 3rd semiquaver, is certainly to be understood as a whole-bar slur. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , EE inaccuracies |
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b. 21
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composition: Op. 10 No 4, Etude in C♯ minor
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The differences of the length of the sign are certainly non-authentic and probably originate from extra-musical reasons. category imprint: Differences between sources issues: Inaccuracies in GE , EE inaccuracies |
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b. 25-26
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composition: Op. 10 No 4, Etude in C♯ minor
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According to us, in spite of the difference in the length of the sign, in both bars the accents in AI (→FE) are to be understood as long. This is how it was understood in EE, while GE has a short accent in bar 25 and in bar 26. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in GE |
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b. 33-34
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composition: Op. 10 No 4, Etude in C♯ minor
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In AI, the accents over the chords in these bars are undoubtedly long and this is the notation we adopt to the main text. FE has short accents (only the third one could be possibly considered as long), which seems to be less convincing, as far as the music is concerned, and probably results from an incomplete understanding of [A]. The accents in the remaining editions were subject to further modifications, most probably accidental. category imprint: Interpretations within context; Differences between sources issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |