Issues : GE revisions
b. 1
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composition: Op. 25 No 10, Etude in B minor
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In the main text we give the title and dedication after the title page of the entire Opus in GC and FE. category imprint: Differences between sources issues: EE revisions , Dedications , GE revisions |
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b. 1
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composition: Op. 25 No 10, Etude in B minor
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The use of the time signature is surprising only in GE1, as FE did not use the indication in the Etudes – contrary to the manuscripts – even once, neither in Op. 25 nor in Op. 10 and in the Etude in F minor, Dbop. 36 No. 1 (cf. also the Impromptu in A major, Op. 29). Anyways, the correctness and authenticity of the time signature is undeniable with respect to the compatible version of GC and EE. category imprint: Differences between sources issues: Changes of metre , Inaccuracies in GE , Inaccuracies in FE , GE revisions , 4/4 or 2/2 |
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b. 4-5
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composition: Op. 25 No 10, Etude in B minor
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In GC both the end of the slur in bar 4 (at the end of the line) and the beginning of the slur in bar 5, starting the new line, are written with such an extensive movement that they can be interpreted as one slur. According to us, it is, however, more likely that Chopin wanted to emphasise the beginning of the theme with a new slur. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions , Inaccuracies in GC |
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b. 6
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composition: Op. 25 No 10, Etude in B minor
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The sharps returning f1 and F on the 3rd beat of the bar are present only in GE2 (→GE3). A similar mistake appears in bar 108. category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , GE revisions |
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b. 11
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composition: Op. 25 No 10, Etude in B minor
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In GC (→GE1), FE and EE there are no naturals returning B-b. This patent oversight was corrected in GE2 (→GE3). category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , GE revisions |