|
b. 78-80
|
composition: Op. 25 No 12, Etude in C minor
..
In the main text, we give the pedalling of FE, which in this case does not seem to be a result of oversight of signs. Combining the bars based on one chord is very characteristic for Chopin pedalling; in this place it perfectly matches the maximal dynamics of this triumphal, culminant ending of the cycle. category imprint: Differences between sources |
|||||||||
|
b. 78-80
|
composition: Op. 25 No 12, Etude in C minor
..
The separation and extension of the sound of the c1 and d1 notes is marked in both analogous bars – bars 78 and 80 – only in FC (→GE with the d1 note shortened to a quaver), which has to be considered to be an inaccuracy of the remaining sources. In turn, it is uncertain whether the rhythmic value of the d1 notes, exceeding the bar, corresponds to Chopin's intention, as the lack of quaver flags can be considered here to be an oversight (this is how it was interpreted in GE). Due to the fact that we can encounter such a type of notation in other Chopin's pieces (cf. the Etude in A minor, No. 4, bar 52 or in E minor, No. 5, bar 35), in the main text we preserve the crotchets written in FC. category imprint: Differences between sources issues: EE revisions , GE revisions |
|||||||||
|
b. 78-80
|
composition: Op. 25 No 12, Etude in C minor
..
In FC (→Ge), there are cautionary naturals before the d1 notes at the end of bars 78 and 80. The latter – in bar 80 – was added also in EE3. In the main text we do not include these signs. category imprint: Differences between sources issues: EE revisions , Cautionary accidentals , Last key signature sign |
|||||||||
|
b. 81-82
|
composition: Op. 25 No 12, Etude in C minor
..
In FC – certainly in accordance with [A] – the 2nd, 3rd and 4th groups of semiquavers in the R.H. are written in an abbreviated manner as repetition of the first. Entire bar 82 is also not written with notes. A similar notation was most probably present in all Stichvorlage manuscripts, which probably caused a number of inaccuracies in reproducing Chopin's intention – cf. the notes on accents, category imprint: Differences between sources issues: Abbreviated notation of A |
|||||||||
|
b. 81-82
|
composition: Op. 25 No 12, Etude in C minor
..
The accents in the R.H., present only in FE, could have been added by Chopin in the proofreading of this edition. According to us, it is, however, more likely that Chopin wrote in the base text only the first accent, while in FE it was multiplied, interpreting the repetition signs, used for an abbreviated notation of the following semiquaver groups. Taking this into account, in the main text we suggest only one accent and due to the fact that it closes the regular rhythmic and melodic structure of bars 71-80, we adjust its shape and placement to the previous accents. category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Long accents , Errors in FE |
hairpins and slurs.
