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Issues : Inaccuracies in A
b. 10-11
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composition: Op. 25 No 1, Etude in A♭ major
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The category imprint: Differences between sources issues: Inaccuracies in GE , Unclear hairpins in A , Inaccuracies in A |
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b. 19
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composition: Op. 25 No 1, Etude in A♭ major
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The difference between the abbreviated notations of AI (repetition signs for 2 last figures) and A (signs for all 3 last figures) could suggest that in the latter all four G notes are supposed to have normal ("big") note heads. According to us, the notation of A is to be interpreted as a simplified version of the notation of AI, which is also confirmed by FE and EE. category imprint: Interpretations within context; Differences between sources issues: Authentic corrections of GE , Inaccuracies in A |
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b. 25
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composition: Op. 25 No 1, Etude in A♭ major
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In the majority of the sources, there are inaccuracies concerning the notation of accidentals, not having an impact on the interpretation of the text. In AI, A (→CDP) and FE, there are no naturals before the 3rd note in the L.H. (a) and the 4th note in the R.H. (e1), while in EE1, there is no category imprint: Interpretations within context; Differences between sources issues: EE revisions , Inaccuracies in FE , Errors in EE , GE revisions , Inaccuracies in A |
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b. 37
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composition: Op. 25 No 1, Etude in A♭ major
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Particular sources differ quite significantly, as far as the range of category imprint: Interpretations within context; Differences between sources issues: Scope of dynamic hairpins , Inaccuracies in A |
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b. 39-47
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composition: Op. 25 No 1, Etude in A♭ major
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The final section of the Etude, plenty of repeating figures, is written in all manuscripts – AI, A and CDP – with as frequent use of // repetition signs as possible. Same as before (cf., e.g., bar 19), we consider the notation of A in bars 41-43, which does not include the difference of size of the bass notes' heads, to be inaccurate. category imprint: Differences between sources issues: Abbreviated notation of A , Inaccuracies in A |