Issues : Authentic corrections of FE
b. 3
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composition: Op. 25 No 8, Etude in D♭ major
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It is one of rare cases of Chopin's giving a clearly different fingering for the same fragment. In the main text we include them both – directly over the notes we give the fingering of FE, probably added by Chopin while proofreading (it does not include the 10th quaver of the bar); the fingering was then repeated in EE2 (→EE3). The top fingering, together with the numerals concerning the 9th and 10th sixth comes from A (→GE). In EE1 there is no fingering in this bar. category imprint: Differences between sources; Corrections & alterations issues: Differences in fingering , Authentic corrections of FE |
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b. 19
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composition: Op. 25 No 8, Etude in D♭ major
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The single A in EE1 (→EE2) is the original version. It is proved by visible corrections performed by Chopin in A (→GE) and FE. The version with octave was introduced in EE3, most probably on the basis of GE. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Authentic corrections of FE , Authentic corrections in GC |
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b. 25-26
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composition: Op. 25 No 8, Etude in D♭ major
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Chopin doubled the bass progression in the bottom octave in the proofreading of FE (cf. bar 19, in which Chopin also reinforced the bass note, adding an octave). The change, which is certainly to be considered to be final, was also introduced – in the form of added quavers under notes – in EE2 (→EE3). category imprint: Differences between sources issues: Accompaniment changes , Authentic corrections of FE , Bass register changes |
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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. 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 Gminor, No. 6, bars 14-15. The entry in FED proves that what was obvious to Chopin was not that obvious even for such a talented pupil as Miss O'Meara. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Authentic corrections of FE |