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Issues : GE revisions
b. 57
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composition: Op. 25 No 11, Etude in A minor
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The version of GC (→GE1) is certainly erroneous – in this bar Chopin embraced only four semiquavers with the octave sign, differently than in similar bars, which most probably confused the copyist. category imprint: Interpretations within context; Differences between sources issues: GE revisions , Errors of GC |
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b. 57
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composition: Op. 25 No 11, Etude in A minor
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Chopin's oversight of the sharps raising f to f
category imprint: Interpretations within context; Differences between sources; Editorial revisions |
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b. 58
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composition: Op. 25 No 11, Etude in A minor
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Before the 5th semiquaver there is no category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , Inaccuracies in FE , GE revisions , Inaccuracies in GC |
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b. 59
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composition: Op. 25 No 11, Etude in A minor
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In the sources – except for GE2 (→GE3) – there are no accidentals before the c2 and c3 notes (in bar 60). One can wonder whether it is an inaccuracy, so frequently encountered in Chopin's notation, consisting in omission of accidentals at repetitions of figurations in different octaves – in this case sharps raising these notes to c category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 62
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composition: Op. 25 No 11, Etude in A minor
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Lack of the staccato signs in GC (→GE1) may be a result of the copyist's inattention. The wedges in GE2 (→GE3) were most probably added by analogy to bar 64. Lack of wedge in the L.H. in FE – unless it is a common oversight – does not mean that the quaver in the L.H. is to be performed differently than the one in the R.H. In this kind of homogeneous texture, Chopin did not always use to mark the articulation of the L.H. separately. category imprint: Differences between sources issues: GE revisions |