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Issues : GE revisions
b. 14
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composition: Op. 25 No 5, Etude in E minor
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In GE1 it is c3 that is the top note of the semiquaver on the 3rd beat of the bar. It is certainly a mistake, corrected in GE2 (→GE3). category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 14-16
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composition: Op. 25 No 5, Etude in E minor
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There is no category imprint: Differences between sources issues: EE revisions , Errors in FE , Errors in EE , Omissions to cancel alteration , GE revisions , Errors of FC |
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b. 35-36
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composition: Op. 25 No 5, Etude in E minor
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In the main text we give the notation modelled on FE as most probably the latest and most consistent – the accents, minims and pedalling specify the way of performance accordingly. The remaining sources prove that Chopin tried to mark the possibility of separating the tenor voice in different ways. In the version of EE it is the original form of the 1st chord (with a), mistake in pedalling and placing accents on the wrong side that draw the attention. The notation of FC is inconsistent (an accent over f category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Long accents , Inaccuracies in GE , Errors in EE , GE revisions , Authentic corrections of FE |
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b. 36
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composition: Op. 25 No 5, Etude in E minor
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In FC (→GE1) there are no arpeggio signs in this bar. It is certainly an oversight of the copyist, which forgot to introduce the wavy lines on the new page of the manuscript. The signs, present both in FE and EE, were added in GE2 (→GE3). category imprint: Differences between sources issues: GE revisions , Errors of FC |
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b. 42
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composition: Op. 25 No 5, Etude in E minor
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Both indications present in the sources are authentic. In the main text we give category imprint: Differences between sources issues: GE revisions , Authentic corrections of FC |