b. 1
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composition: Op. 25 No 3, Etude in F major
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In the main text we give the title and dedication in accordance with the title page of the entire opus in GC and FE. category imprint: Differences between sources issues: EE revisions , Dedications , GE revisions |
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b. 3
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composition: Op. 25 No 3, Etude in F major
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The missing accent in FE is probably a result of the engraver's or possibly copyist's oversight. It is also possible that Chopin himself, while completing and correcting the Stichvorlage manuscripts, omitted the base text to FE at the time of adding this sign. category imprint: Differences between sources |
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b. 4
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composition: Op. 25 No 3, Etude in F major
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EE1 omitted the bass clef at the end of the bar. This patent error, frequent in Chopin sources, was already corrected in EE2 (→EE3). category imprint: Differences between sources issues: EE revisions , Errors in EE |
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b. 5-6
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composition: Op. 25 No 3, Etude in F major
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According to us, the absence of pedalling indications in bars 5-6 in GC (→GE) and FE does not mean that the bars are to be performed without pedal. The deletions of the pedalling signs, visible in GC in bar 5 (as well as in bars 33, 35-36 and 47-48) prove Chopin's striving for simplicity rather than the will to differentiate the performance, e.g., bars 1-2 (with pedal) and 5-6 (without pedal). Therefore, we consider the indications of EE in the discussed bars to be valid, yet due to their absence in the remaining sources, in the main text we give them in brackets. category imprint: Differences between sources |
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b. 16
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composition: Op. 25 No 3, Etude in F major
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FE and EE1 have an e as the 4th quaver of the bottom voice in the L.H. This patent error almost certainly happened to Chopin in [A], as the note on this pitch was initially written also in GC. Besides GC (→GE) the correct text was also introduced in EE2 (→EE3). category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Errors in EE , Authentic corrections in GC |