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b. 53-58
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composition: Op. 25 No 3, Etude in F major
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Same as in bars 49-52, the simplest explanation of the difference in the staccato signs between GC (→GE) and FE and EE is Gutmann's misunderstanding of the notation of [A]. Similarly in bars 60-64. category imprint: Differences between sources issues: Wedges , Inaccuracies in GC |
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b. 56
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composition: Op. 25 No 3, Etude in F major
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It is hard to state how the discrepancies in pedal markings between GC (→GE) and FE and EE were created. However, if we take into account the fact that the absence of markings in bars 33-55 most probably is to be understood as pedale simile and not senza pedale, the difference in bar 56 comes down to the presence or absence of pedal change on the 2nd beat of the bar. In the main text, we, therefore, suggest such an alternative. Analogous discrepancies in the pedalling in similar contexts can be seen throughout the entire Etude – cf. bar 25. category imprint: Differences between sources issues: Inaccuracies in GC |
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b. 56
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composition: Op. 25 No 3, Etude in F major
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According to us, two additional category imprint: Differences between sources issues: Errors of GC |
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b. 58
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composition: Op. 25 No 3, Etude in F major
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Same as in bar 56, it is unclear which pedalling version Chopin wanted to eventually recommend to performers (if he took any decision concerning this issue at all). Therefore, in the main text we suggest a variant solution. Cf. bar 25. category imprint: Differences between sources |
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b. 58
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composition: Op. 25 No 3, Etude in F major
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The absence of category imprint: Differences between sources issues: Errors in GE , GE revisions , EE inaccuracies |
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