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Issues : EE revisions
b. 8-10
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composition: Op. 25 No 6, Etude in G♯ minor
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The fingering of FE, undoubtedly coming from Chopin, is almost certainly an addition introduced in the proofreading of this edition. The fingering was repeated in EE2 (→EE3), adding a '1' at the end of bar 8 (evident mistake). category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 12
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composition: Op. 25 No 6, Etude in G♯ minor
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The sharp returning c category imprint: Differences between sources issues: EE revisions , Errors in EE , Omissions to cancel alteration , Errors in GE , GE revisions , Authentic corrections of FE , Errors of FC |
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b. 14-15
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composition: Op. 25 No 6, Etude in G♯ minor
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The fingering of FE, coming undoubtedly from Chopin, was most probably added in the proofreading of this edition. The fingering was then repeated – inaccurately, without the last '5' in bar 14 and '2' in bar 15 – in EE2 (→EE3). It is characteristic that both here and in bars 17-18, Chopin probably considered the fingering of the top voice to be more natural than of the bottom one, since he gave only a few digits over the notes. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 17-18
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composition: Op. 25 No 6, Etude in G♯ minor
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In FC (→GE1) and FE there are no sharps returning d category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Omissions to cancel alteration , Errors in GE , GE revisions , Errors of FC |
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b. 19-20
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composition: Op. 25 No 6, Etude in G♯ minor
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It is hard to state how the difference between FC (→GE) and EE1 was created – it may be a result of Chopin additions to the base texts to EE (cf. bars 17-18) or Fontana's oversight. The additions were introduced by Chopin most probably in the proofreading of FE, they were also repeated in EE2 (→EE3). category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |