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 at the end of the bar, in accordance with FE, in which Chopin introduced an improved version of the bass. category imprint: Differences between sources issues: EE revisions |
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b. 25-27
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composition: Op. 25 No 8, Etude in D♭ major
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Both basic sets of indications – decresc. in bar 26 in A and GE and in bars 25-27 and decresc. in bar 27 – are certainly authentic, yet it is unknown which of the versions is later. In the main text we give the differentiated indications of FE and EE, in the shape transferred by FE (we add dashes marking the range of decresc. after A, as omitting them is one of the most frequent inaccuracies of the first editions, which is proved by, for example, GE1 in this place).
category imprint: Differences between sources issues: Scope of dynamic hairpins |
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b. 26-27
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composition: Op. 25 No 8, Etude in D♭ major
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The ties sustaining g2-e3 are most probably a Chopin improvement introduced at the time of proofreading FE. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Main-line changes |
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b. 26-27
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composition: Op. 25 No 8, Etude in D♭ major
category imprint: Differences between sources |
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b. 26-27
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composition: Op. 25 No 8, Etude in D♭ major
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Placement of decresc. – see the note on in bars 25-27. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions |