Issues : Authentic corrections of FC
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b. 43-46
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composition: Op. 25 No 6, Etude in G♯ minor
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Lack of fingering in the L.H. in FE may mean that it was added by Chopin in FC and base text to EE. Moreover, it cannot be excluded that some of the digits were already in [A], yet they were either overlooked or misunderstood by the engraver of FE (cf. bar 46). In the main text, we give all digits appearing in the sources, as their authenticity, independently from the differences between the sources (and alleged causes of these differences), does not raise major doubts (cf. the Etude in C category imprint: Differences between sources issues: Authentic corrections of FC |
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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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The missing pedalling in EE must be an oversight. It cannot be excluded that it was Chopin himself that overlooked the base text to EE, completing the pedalling markings in this bar (in FC one can see that in bars 46-47 they were added by Chopin). category imprint: Differences between sources issues: Errors in EE , Authentic corrections of FC |
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b. 57
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composition: Op. 25 No 6, Etude in G♯ minor
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The category imprint: Differences between sources issues: Authentic corrections of FC |
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b. 61
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composition: Op. 25 No 6, Etude in G♯ minor
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The sotto voce indication, present in FE, is the original version. In FC (→GE), Chopin deleted it and introduced category imprint: Differences between sources issues: Authentic corrections of FC |
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