Issues : Authentic corrections in GC
b. 16
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composition: Op. 25 No 11, Etude in A minor
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In the main text we give the hairpins in accordance with the Chopin entry in GC (→GE1). The composer was forced to correct the sign, written by the copyist an entire beat too far. category imprint: Differences between sources issues: Authentic corrections in GC |
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b. 17
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composition: Op. 25 No 11, Etude in A minor
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The fingering in GC is written entirely with Chopin's hand. An identical addition was most probably a part of the base text to EE. In turn, in the base text to FE or proofreading of this edition, the same fingering was marked with a different set of numerals. In the main text we give slightly more accurate indications of GC (→GE) and EE, completed with the only numeral not included in these sources, yet printed in FE. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections in GC |
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b. 21
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composition: Op. 25 No 11, Etude in A minor category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections in GC |
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b. 23
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composition: Op. 25 No 11, Etude in A minor
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The indication, added in GC (→GE) by Chopin, is also in EE. The absence of the sign in FE reflects probably the original state of the Stichvorlage manuscripts. Similarly dim. in bars 25-26 and in bar 31. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections in GC |
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b. 24-26
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composition: Op. 25 No 11, Etude in A minor
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Quite a significant difference in the range of the diminuendo indication suggests that it was written by Chopin in GC and base text to EE independently. The earlier ending of the dashes determining the range of this indication in GE1 is probably a result of an inaccurate interpretation of GC and perhaps also difficulties with finding place for some of them. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections in GC |