Issues : Authentic corrections of FC
b. 2-4
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composition: Op. 25 No 4, Etude in A minor
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The pair of hairpins must have been added by Chopin in FC and base text to EE. Nothing indicates that Chopin could have wanted to resign from these indications – their absence in A (→FE) is almost certainly a result of haste and insufficient attention at the time of parallelly introducing corrections and additions in three Stichvorlage manuscripts. Similarly in bars 6-8. category imprint: Differences between sources issues: Scope of dynamic hairpins , GE revisions , Authentic corrections of FC |
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b. 6-8
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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 added most probably by Chopin in FC and base text to EE. The shift of the sign in GE was probably a result of division of the score into great staves – bar 7 falls at the end of the line. category imprint: Differences between sources issues: Authentic corrections of FC |
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b. 9-10
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composition: Op. 25 No 4, Etude in A minor category imprint: Differences between sources issues: Authentic corrections of FC |
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b. 9-11
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composition: Op. 25 No 4, Etude in A minor
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The legato and staccato indications, in A written both in bar 9 and two bars later, were deleted in the second place by Chopin in FC (→GE); they are also absent in EE. In turn, in FE staccato was reproduced in both bars, yet both legato indications were omitted. It can be an oversight of the engraver or Chopin's correction – the legato articulation is indicated by slurs. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FC |
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b. 11-12
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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 added most probably by Chopin in FC and base text to EE. category imprint: Differences between sources issues: Authentic corrections of FC |