Issues : Authentic corrections of FE
b. 60
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composition: Op. 25 No 10, Etude in B minor
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The extension of d1 in the 5th octave and deletion of b in the 6th quaver are the last of the changes, introduced probably in the proofreading of FE, separating an additional melodic line within the octaves. EE2 adopted the changes, yet EE3 – most probably under the influence of GE – reintroduced the b note. Similarly in bar 80. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Authentic corrections of FE |
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b. 67-69
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composition: Op. 25 No 10, Etude in B minor
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The difference in the placement of the dim. - - indication in FE and EE proves its independent addition in the base texts to these editions. It is also possible that, as it was probably in analogous bars 47-49 and 87-89, Chopin added the indication in the proofreading of FE. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 78
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composition: Op. 25 No 10, Etude in B minor
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The slur embracing the phrase of the middle voice in the R.H. in bars 78-80 was added by Chopin most probably in the proofreading of FE. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 78
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composition: Op. 25 No 10, Etude in B minor
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The accent was most probably added by Chopin at the time of proofreading FE. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 79-82
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composition: Op. 25 No 10, Etude in B minor
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Omission of the pedalling signs in FE in bar 80 is certainly an oversight (cf. bars 31-32), therefore, in the main text we suggest to complete them after all previous analogous bars. category imprint: Differences between sources; Corrections & alterations issues: Inaccuracies in FE , Authentic corrections of FE , Omitted correction of an analogous place |