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Issues : EE revisions
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b. 25
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composition: Op. 25 No 8, Etude in D♭ major
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The earlier pedal release, marked in A (→GE) and still earlier – in EE1, are written in the sources transferring the original version of the bass motif in bars 25-26 (with single notes). Relation of pedalling with the sound of the bass progression seems to be quite likely, hence in the main text we give category imprint: Differences between sources issues: EE revisions |
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b. 26
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composition: Op. 25 No 8, Etude in D♭ major
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In EE1 there is no category imprint: Differences between sources issues: EE revisions , Cautionary accidentals , EE inaccuracies |
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b. 27-28
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composition: Op. 25 No 8, Etude in D♭ major
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Chopin added the fingering of the bottom voice most probably at the time of proofreading FE (also in bars 28 and 29). What draws attention is the fact that the composer considered the fingering of the top voice to be obvious – cf. the Etude in G category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Authentic corrections of FE |
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b. 28
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composition: Op. 25 No 8, Etude in D♭ major
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The fingering of the beginning of the phrase was added by Chopin most probably at the time of proofreading FE. It was then repeated – with errors – in EE2 (→EE3). category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Errors in EE , Authentic corrections of FE |
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b. 32-34
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composition: Op. 25 No 8, Etude in D♭ major
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The notation of the three-bar chromatic progression does not contain errors in the sources, yet some of the cautionary signs seem to be unnecessary. In the main text we leave only the naturals before d and e in the last triplet of each bar, as these are notes before which one can expect signs in the D category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions , Cautionary accidentals , Last key signature sign |
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