b. 13-16
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composition: Op. 25 No 11, Etude in A minor
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In GC, the moment of beginning the slurs in bars 13 and 14 falls quite far before the dotted quaver on the 2nd beat of the bar. In spite of this, there is no doubt that they concern only the phrase led with the chords in bars 13-14 and its repetition in bars 15-16. The slurs of GE1 must be then considered as erroneous. Cf. bars 7-8. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , GE revisions , Inaccuracies in GC |
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b. 13-14
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composition: Op. 25 No 11, Etude in A minor category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 15
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composition: Op. 25 No 11, Etude in A minor
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We add a cautionary before f1 at the beginning of the bar after GE. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 16
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composition: Op. 25 No 11, Etude in A minor
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Before the 1st semiquaver of the last group, GC and FE have no accidental, which, due to the fact that 11 previous notes in the R.H. (together with d1) were written on the bottom stave, is only an inaccuracy. GE1 added a before this note. In turn, the absence of this sign in EE1 (→EE2) and GE2 (→GE3) is a mistake, as in these editions – same as in mUltimate Chopin – the entire part of the R.H. is written in this bar on the top stave. GC (→GE1) and FE repeated the before b, the 2nd semiquaver of the last group. The unnecessary in this context sign was removed in EE and GE2 (→GE3). category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in EE , Errors in GE , GE revisions , Cautionary accidentals |
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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 |