b. 3
|
composition: Op. 25 No 8, Etude in D♭ major
..
In the main text we add a cautionary before e3; the addition was already introduced in GE and repeated in EE3. In GE2 (→GE3) a poorly justified cautionary was added also before d3 (as well as an erroneous before the bottom note of the 10th sixth). category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
||||||
b. 4
|
composition: Op. 25 No 8, Etude in D♭ major
..
In A (→GE1) and FE, a part of the L.H. in the 2nd half of the bar is written on the top stave, under the part of the R.H. In such a graphic layout, the last 6 sixths in the L.H. are de facto embraced with the slur over the part of the R.H. In the graphic layout adopted by us, one has to complete the slur in order to capture the sense of Chopin notation, which was performed already in EE and GE2 (→GE3). In the main text we give the slur of EE, as it could have been written in such a form by Chopin, yet the solution adopted in GE2 seems to render the idea of the composer's notation in the most accurate way. category imprint: Interpretations within context; Differences between sources issues: GE revisions |
||||||
b. 5
|
composition: Op. 25 No 8, Etude in D♭ major
..
We do not give the fingering numeral written in FES in the main text, as it was included in the fingering in bar 1. category imprint: Differences between sources |
||||||
b. 6
|
composition: Op. 25 No 8, Etude in D♭ major
..
FE features e2 as the top note of the sixth beginning the 2nd half of the bar. This patent error was corrected in both pupils' copies, including annotations in this Etude – FED and FES. category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , Errors in FE , Annotations in FED , Annotations in FES |
||||||
b. 7
|
composition: Op. 25 No 8, Etude in D♭ major category imprint: Interpretations within context; Differences between sources issues: Errors in GE , GE revisions |