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b. 1
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composition: Op. 25 No 7, Etude in C♯ minor
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In the main text we give the title and dedication after the title page of the entire opus in GC and FE. category imprint: Differences between sources issues: EE revisions , Dedications , GE revisions |
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b. 1
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composition: Op. 25 No 7, Etude in C♯ minor
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The characteristic, expressive Chopin fingering was written by the composer in FES. category imprint: Differences between sources |
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b. 1
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composition: Op. 25 No 7, Etude in C♯ minor
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It is not certain whether Chopin imagined a barless introduction written with notes of normal size or with small ones. According to us, it is more likely that Gutmann did not recognise small notes in the notation of [A] and a similar mistake committed in the base text to EE or by the engraver of this edition (cf. the Prelude in C category imprint: Differences between sources |
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b. 1
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composition: Op. 25 No 7, Etude in C♯ minor
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In the main text we suggest quavers, as their authenticity is beyond any doubt. In turn, the crotchets in FE may be a result of the engraver's inattention – the spaces between the c category imprint: Differences between sources issues: Errors in FE |
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b. 1
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composition: Op. 25 No 7, Etude in C♯ minor
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The fingering written in FED and FES complement each other and partially overlap, hence in the main text we give them together. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Annotations in FES |