|
b. 9-10
|
composition: Op. 25 No 11, Etude in A minor
..
The marcato indication in GC is written by the copyist, which, considering the absence of indication in FE, probably means that Chopin wrote it in the base text to EE. It is, however, not so obvious in the case of repetition of this indication in EE in bar 10, as it is not included in any of the sources. Therefore, in the main text we give only the first of them. category imprint: Differences between sources issues: EE revisions |
||||||||
|
b. 9
|
composition: Op. 25 No 11, Etude in A minor
..
The fingering was probably added by Chopin at the time of proofreading FE and then used by the reviser of EE2 (→EE3). category imprint: Differences between sources issues: Authentic corrections of FE |
||||||||
|
b. 10
|
composition: Op. 25 No 11, Etude in A minor
..
The long accent was probably overlooked in GC (→GE). Similarly in analogous bar 74, in which, however, the sign is present only in EE. category imprint: Differences between sources issues: Errors of GC |
||||||||
|
b. 10-12
|
composition: Op. 25 No 11, Etude in A minor
..
Four fingering numerals in FE is most probably a result of Chopin proofreading of this edition. The significantly more abundant fingering of EE2 (→EE3) develops Chopin indications adopted from FE. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Authentic corrections of FE |
||||||||
|
b. 11
|
composition: Op. 25 No 11, Etude in A minor
..
In the 2nd half of the bar, the only accidental in the part of the R.H. in GC, FE and EE1 is a category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , Errors in FE , Errors in EE , GE revisions , Omission of current key accidentals , Errors of GC |
raising d3 to d
3. The notation, although inaccurate, determines also the sound of the 6th and 10th semiquavers in the 2nd half of the bar as d
) as resolution. The sharps raising the discussed notes to f