Issues : Omission of current key accidentals
b. 11
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composition: Op. 25 No 11, Etude in A minor
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In the 2nd half of the bar, the only accidental in the part of the R.H. in GC, FE and EE1 is a raising d3 to d3. The notation, although inaccurate, determines also the sound of the 6th and 10th semiquavers in the 2nd half of the bar as d2 and d1. In turn, nothing indicates raising the 3rd, 7th and 11th semiquavers, which, in this situation, should read f3, f2 and f1. This version, however, is impossible in this melodic and harmonic context – the use of g as delay of the fifth of the B7 chord requires f (possibly f) as resolution. The sharps raising the discussed notes to f3, f2 and f1 were added in GE and later EE (in EE2 without before the 11th semiquaver). Cf. bar 75. 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 |
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b. 12
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composition: Op. 25 No 11, Etude in A minor
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In GC and FE there is no raising g1 to g1. This patent oversight was corrected in GE and EE. Similarly in bar 76. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , GE revisions , Omission of current key accidentals , Errors of GC |
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b. 27-30
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composition: Op. 25 No 11, Etude in A minor
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In the passages including a few octaves, there are no accidentals in the sources, which, however, does not raise doubts concerning the text intended by Chopin.
In GC there are no sharps needed in the notation of f1, f2 in bar 27, f, f1, f2 in bar 28, f2, f1 (L.H.), c1 in bar 29 and f, d2 in bar 30. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , GE revisions , Omission of current key accidentals , Errors of GC |
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b. 46
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composition: Op. 25 No 11, Etude in A minor
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Before the 5th, 15th, 19th and 23rd semiquaver in GC (→GE1) and FE there is no accidental, so all of them should be interpreted as a2. In the 2nd half of the bar it is certainly erroneous, which induced the reviser of GE2 (→GE3) to consider the whole bar as an example of overlooking the sign of the current key and adding a already next to the first of the aforementioned notes. A flat in this place is present also in EE, which could generally correspond to Chopin's notation in the base text to this edition. According to us, it is, however, more likely that in EE we are also dealing with an intervention of the reviser:
category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Omission of current key accidentals |
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b. 47
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composition: Op. 25 No 11, Etude in A minor
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The g crotchet, which in this context has to be, of course, interpreted as g (a relevant was added in GE), was added by Chopin in GC (→GE). We adopt this version to the main text, removing the unnecessary in this situation before the last semiquaver of the bar. Through GE, the completed version was transmitted to EE3. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Omission of current key accidentals , Authentic corrections in GC |