Issues : Errors in EE
b. 9-13
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composition: Op. 25 No 9, Etude in G♭ major
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In GC (→GE1), FE and EE there are no naturals raising c to c in bars 9 and 13 and c1 to c1 in bar 12. These are Chopin's obvious oversights, while the signs were added in FED (in bar 9) and FEJ and FES (all). category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , Errors in FE , Annotations in FED , Errors in EE , Errors in GE , GE revisions , Omission of current key accidentals , Annotations in FES , Annotations in FEJ |
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b. 34
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composition: Op. 25 No 9, Etude in G♭ major
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Lack of the naturals raising C-c to C-c is almost certainly Chopin's mistake, despite the fact that this kind of oversights of signs introducing alterations are not frequent (yet they are to be found in, e.g., the Etude in F minor, No. 2, bar 56). It could have seemed that the C-c octave did not require naturals due to the following reasons:
category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Errors in EE , Errors in GE , Last key signature sign , Errors of GC |
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b. 37-38
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composition: Op. 25 No 9, Etude in G♭ major
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In GC, the version beginning from G1 was written by Chopin instead of the original version of FE, beginning from the sixth. This undeniable improvement was also introduced in the base text to EE1, in which, however, it was reproduced inaccurately – both B1 at the beginning of the bar and the lack of tie sustaining d are most probably mistakes. In turn, EE1 includes a dot extending the des crotchet, overlooked in GC. This inaccuracy of the notation of GC was corrected only in GE3, which, thanks to this, is the only source in which the final version is written flawlessly. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Inaccuracies in GE , Errors in EE , Terzverschreibung error , GE revisions , Accompaniment changes , Authentic corrections in GC |