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b. 37-38
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composition: Op. 25 No 2, Etude in F minor
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The presence of a pair of hairpins in CDP suggests that at the moment of performing Stichvorlage copies, they were already written in [A]. Lack of these signs in EE may be explained with the copyist's or engraver's oversight. category imprint: Differences between sources; Corrections & alterations issues: Scope of dynamic hairpins |
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b. 38-40
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composition: Op. 25 No 2, Etude in F minor
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In the final version Chopin replaced the agogic change with a dynamic one – cf. bars 36-37 and 39-40. category imprint: Differences between sources; Corrections & alterations |
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b. 39-40
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composition: Op. 25 No 2, Etude in F minor
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While writing [A], Chopin put here poco a poco cresc., same as in bars 36-37. The indication was copied to CDP, as well as to GC, in which Chopin, however, deleted it and replaced with cre – scen – do only. He had to introduce an identical change also in the base texts to FE and EE, which obliges us to assume this correction to be final. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections in GC |
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b. 39-40
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composition: Op. 25 No 2, Etude in F minor
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Same as in bars 16-17 and 35-36, in the main text we give the pedalling of FE, which may be a result of Chopin's proofreading. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Authentic corrections in GC |
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b. 40
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composition: Op. 25 No 2, Etude in F minor
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Developing the abbreviation used by Chopin in AW, we do not repeat the fingering, as Chopin – similarly as the majority of composers and editors – generally would not repeat this kind of indications in such a context. category imprint: Differences between sources issues: Abbreviated notation of A |
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