|
b. 25-27
|
composition: Op. 25 No 12, Etude in C minor
..
In bars 25 and 27 we suggest – same as in bar 23 – long accents on the basis of Chopin corrections in the analogous bars. category imprint: Interpretations within context; Editorial revisions issues: Long accents |
|||||||||||||||||
|
b. 26-28
|
composition: Op. 25 No 12, Etude in C minor
..
Same as in bar 24, in the main text we give long accents, written most probably by Chopin in FC. The missing first sign in bar 28 is certainly an oversight, corrected in GE2 (→GE3). category imprint: Interpretations within context; Differences between sources issues: GE revisions , Authentic corrections of FC |
|||||||||||||||||
|
b. 27
|
composition: Op. 25 No 12, Etude in C minor
..
In EE2 (→EE3) the fingering was developed in accordance with the scheme valid in the entire Etude. category imprint: Differences between sources issues: EE revisions |
|||||||||||||||||
|
b. 29
|
composition: Op. 25 No 12, Etude in C minor category imprint: Differences between sources issues: Errors in GE , GE revisions |
|||||||||||||||||
|
b. 29-32
|
composition: Op. 25 No 12, Etude in C minor
..
In these bars, placing the accents at the beginning of the passages between the notes is impeded, as it would be necessary for them to be placed in the area of ledger lines, which would hinder the legibility of the text. In FC and FE, which most probably faithfully convey the notation of [A], such notation is to be seen only in bars 29 and 32, Chopin placed the remaining accents over the notes. The latter was adopted in GE and EE2 in all the discussed bars, whereas in EE1 (→EE2) in four out of the five cases. In the main text, in order to underline that the accents refer to the notes performed by the both hands, we suggest double accents (cf. bars 13-14). The notation could have been used by Chopin in bar 46. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
instead of F
