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b. 17-18
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composition: Op. 25 No 11, Etude in A minor
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It is hard to conclude how the difference in the placement of arpeggios occurred. Perhaps Chopin wrote the arpeggio in bar 18 in the base text to EE, from which it was copied to GC, while the sign in bar 17 was added in the proofreading of FE. It probably means that it is the respective chords in both discussed bars and all similar, hence in bars 35-36 (in which arpeggios are not marked at all) and in bars 81-82 (in which FE includes signs in both bars), that should be performed with an arpeggio. Therefore, in the main text we give both signs. category imprint: Interpretations within context; Differences between sources |
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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. 17
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composition: Op. 25 No 11, Etude in A minor
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The too early placed ending of the octave sign makes the 4th semiquaver of the 2nd half of the bar in FE sound as b category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in FE |
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b. 20-22
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composition: Op. 25 No 11, Etude in A minor
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GE added staccato dots at the beginning of bars 20 and 22 – both in GE1, only the second one in GE2 (→GE3). category imprint: Differences between sources issues: GE revisions |
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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 |
1 instead of b
