b. 46
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composition: Op. 25 No 6, Etude in G♯ minor
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Taking into account analogous bar 44, the later pedal depression in FE has to be considered as an inaccuracy. It is hard to assume to whom it could be ascribed and what could have provoked it. category imprint: Differences between sources |
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b. 47
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composition: Op. 25 No 6, Etude in G♯ minor
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According to us, the authenticity of does not raise any doubts. In turn, in FC (→GE) may be a result of an inaccurate interpretation of [A] by the copyist – the 'f' and 'z' letters from some of Chopin merge in such a way that they can be considered as one 'f' letter, i.e. (see the Etude in E major, Op. 10 No. 11, bar 25 or 50). category imprint: Differences between sources issues: fz – f |
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b. 47-48
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composition: Op. 25 No 6, Etude in G♯ minor
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The notation of accidentals in the sources shows significant inaccuracies and differences, which, however, do not cause any difficulties in interpreting Chopin's intentions. Due to the use of an octave sign in some of the sources, it is also unclear which signs have to be considered as necessary. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , GE revisions , EE inaccuracies , Inaccuracies in FC |
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b. 47
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composition: Op. 25 No 6, Etude in G♯ minor
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The smaller number of fingering digits in FC (→GE) means that Chopin completed the fingering in the base texts to FE and EE. In EE, omission of one of the digits written in FC indicates an oversight of the engraver or the person performing the base text to EE. category imprint: Differences between sources issues: EE inaccuracies |
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b. 47
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composition: Op. 25 No 6, Etude in G♯ minor
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The missing fingering digit over the 1st semiquaver in GE3 is certainly a result of wear and tear of printing materials (the beginning of the slur is also invisible). category imprint: Differences between sources issues: Errors in GE |