Issues : EE revisions
b. 1
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composition: Op. 25 No 4, Etude in A minor
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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 FC and FE. category imprint: Differences between sources issues: EE revisions , Dedications , GE revisions |
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b. 7-15
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composition: Op. 25 No 4, Etude in A minor
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At the beginning of bars 7 and 15 we add cautionary naturals before G and g. The signs before the 1st quaver in both bars were introduced in GE and EE3, before the second – only in GE2 (→GE3). category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 8
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composition: Op. 25 No 4, Etude in A minor
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The pedalling in EE can be authentic. However, one cannot totally exclude an editorial revision, which could have introduced here an indication drawn from analogous bar 46. category imprint: Differences between sources issues: EE revisions |
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b. 15-16
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composition: Op. 25 No 4, Etude in A minor
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The presence of two signs in EE may be explained as a revision, in which the sign in bar 16, compatible with the remaining sources, was completed with hairpins in bar 15 following bar 7. However, both signs can be authentic and it cannot be excluded that they are to be interpreted as one longer diminuendo. category imprint: Differences between sources issues: EE revisions , Hairpins denoting continuation |
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b. 17
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composition: Op. 25 No 4, Etude in A minor
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In EE1 there is no before the last quaver in the upper voice in the R.H. This patent inaccuracy in this context – of the engraver or the person performing the base text – was corrected in EE2 (→EE3). category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in EE |