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b. 51
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composition: Op. 25 No 5, Etude in E minor
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FE has an erroneous g2 instead of f2 as the top note of the penultimate quaver. category imprint: Interpretations within context; Differences between sources issues: Errors in FE |
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b. 73
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composition: Op. 25 No 5, Etude in E minor
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The version without c1 in the last chord is probably a result of misinterpretation of [A]. There is no reason, neither sound nor piano, which would justify the distortion of regularity of the harmonic progression in this place. Moreover, the slurs over the pairs of chords in bars 73-76 also prove a slightly more accurate development of the text of FE in this fragment. category imprint: Differences between sources issues: Uncertain notes on ledger lines |
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b. 73
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composition: Op. 25 No 5, Etude in E minor
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The version of EE2 (→EE3), in which the 1st triplet of the R.H. is written one octave higher than in the remaining sources is certainly an arbitrary revision. Its aim was certainly to avoid the leap between the 1st and 2nd triplet of the R.H., which can be considered to be pianistically justified, yet not as far as the sound is concerned. category imprint: Differences between sources issues: EE revisions |
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b. 76
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composition: Op. 25 No 5, Etude in E minor
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On the 3rd beat of the bar in FC, one can see a correction – the b and b1 notes were added after a and a1 had been erased. According to us, it is Fontana's autocorrection, who, at first, repeated the harmonic scheme of the previous bars. category imprint: Corrections & alterations; Source & stylistic information issues: Errors of FC |
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b. 86
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composition: Op. 25 No 5, Etude in E minor
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As the 9th semiquaver, FC (→GE1) features a g2-e3 sixth. The unjustified breaking of the rule of figuration structure adopted by Chopin undoubtedly indicates a mistake of the copyist. The error was corrected in GE2 (→GE3). category imprint: Differences between sources issues: GE revisions , Errors of FC |
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