b. 11
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composition: Op. 25 No 12, Etude in C minor
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FE has an f1 instead of a1 as the 8th semiquaver in the L.H. The engraver's error is proved by the compatible version of the remaining sources, the version of analogous bar 3 and a correction written in pencil in FES. category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , Errors in FE , Terzverschreibung error , Annotations in FES |
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b. 13
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composition: Op. 25 No 12, Etude in C minor
category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 13-14
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composition: Op. 25 No 12, Etude in C minor
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In one-bar passages, Chopin generally writes accents between the parts of both hands. There where a sign would have to be placed on ledger lines in the middle of the bar, e.g., in the discussed bars or in bars 67-70, Chopin most often writes it under the part of the L.H. As there is no doubt that the accent is valid for both hands, we add the sign over the part of the R.H. Actually, it cannot be excluded that such a notation was used by the composer himself in the base text to EE – cf. bars 43-44. See also bars 45-46. category imprint: Editorial revisions |
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b. 14
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composition: Op. 25 No 12, Etude in C minor
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The cautionary before d is included in EE and GE. The sign in EE may be authentic, yet an editorial revision is more likely, same as in GE. category imprint: Differences between sources issues: EE revisions , GE revisions , Cautionary accidentals |
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b. 14
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composition: Op. 25 No 12, Etude in C minor
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In the main text we give here Chopin fingering, written under an identical passage in bar 69 (cf. General Editorial Principles, p. 17). category imprint: Editorial revisions |