Issues : Authentic corrections of FC
b. 47-48
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composition: Op. 25 No 4, Etude in A minor
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The pair of signs, present only in FC, was certainly added by Chopin. The hairpins were repeated in GE and later also in EE3, yet the range of signs in these editions is closer to these written in bars 39-40. category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE , Scope of dynamic hairpins , Authentic corrections of FC |
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b. 49-50
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composition: Op. 25 No 4, Etude in A minor
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In the main text we give a pair of hairpins introduced probably by Chopin in FC (→GE). In EE, the sign begins earlier, while the second was overlooked (except for EE3, in which was added according to GE). In A (→FE) this detail – as majority of the dynamic indications in bars 39-53 – was not marked. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FC |
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b. 52-53
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composition: Op. 25 No 4, Etude in A minor
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Same as in bars 49-50, the signs are most probably a Chopin addition in FC (→GE). The hairpins were added also in EE3, most probably after the comparison with GE. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FC |
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b. 55
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composition: Op. 25 No 4, Etude in A minor category imprint: Differences between sources issues: EE revisions , Authentic corrections of FC |
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b. 58-60
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composition: Op. 25 No 4, Etude in A minor
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The pedalling of FE, generally consistent with the indications written by Chopin in FC and base text to EE, was added by him at the time of proofreading. We discuss minor differences in the indications separately – cf. bars 58, 59 and 61. category imprint: Differences between sources issues: Authentic corrections of FE , Authentic corrections of EE , Authentic corrections of FC |