b. 4
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composition: Op. 25 No 7, Etude in C♯ minor
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The exclusive presence of the accent in FE suggests that it was added by Chopin in the proofreading of this edition (or still in the handwritten base text). The length of the accent is indicated by its placement to the right from the note. Similarly in bar 8, where the sign is not only moved, but also longer. category imprint: Differences between sources; Corrections & alterations issues: Long accents , Authentic corrections of FE |
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b. 5
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composition: Op. 25 No 7, Etude in C♯ minor
category imprint: Differences between sources |
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b. 5
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composition: Op. 25 No 7, Etude in C♯ minor
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The authenticity of the 3rd fingering numeral in FE does not raise any doubts, however, it is not certain whether it was added in the base text to FE already after GC and base text to EE had been prepared or added in the proofreading of FE. The triple use of the 1st finger in a very similar melodic and piano performance context appears in the Etude in Gminor, No. 6, bars 43-46. category imprint: Differences between sources |
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b. 7
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composition: Op. 25 No 7, Etude in C♯ minor
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The slurring of EE is the original state, corrected by Chopin at the stage of manuscripts only in GC. The accurate sense of this correction is not clear (GE1 interpreted the slurs literally as non-connected), yet Chopin proofreading of FE dissipates the doubts concerning the composer's intention. Cf. analogous bars 50-51. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Authentic corrections in GC |
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b. 7
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composition: Op. 25 No 7, Etude in C♯ minor
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The grace note indicating the manner of beginning the trill – from the top note – was written by Chopin in FED. Similarly in analogous bar 51. category imprint: Differences between sources |