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b. 2-5

composition: Op. 10 No 3, Etude in E major

Two long accents in AI

Three different accents in A

  in FE (→GE,EE)
..

In the main text over the semiquaver motifs in bars 2, 3 and 5 we give consequent pairs of   hairpins, introduced by Chopin in a proofreading of FE (→GE,EE). Both autographs include the previous concept, written more or less accurately, in which only the 3rd semiquaver in the bar is provided with an accent (generally long). Cf. the adjacent note on slurs.

category imprint: Differences between sources; Corrections & alterations

issues: Long accents , Authentic corrections of FE

b. 2-5

composition: Op. 10 No 3, Etude in E major

No slurs in AI

Short slurs in A

Longer slurs in FE (→GE,EE)
..

While proofreading FE (→GE,EE), Chopin introduced consistent half-bar-long slurs over the semiquaver motifs in bars 2, 3 and 5. They replaced the inaccurate and rather random slurring of the autographs.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 2-10

composition: Op. 10 No 3, Etude in E major

No mark in AI & A

Short accent in FE (→GE,EE)

Long accent suggested by the editors
..

The accent over the crotchet in bar 2 was added most probably by Chopin in a proofreading of FE (→GE,EE). Taking into account the fact that the engravers often did not understand the sign of the long accent and used to reproduce it as a casual accent or – often longer –  hairpins, in the main text we suggest a long accent, which in this context seems to be more appropriate. The same applies to bar 10. 

category imprint: Interpretations within context; Differences between sources

issues: Long accents , Authentic corrections of FE

b. 2-11

composition: Op. 10 No 4, Etude in C♯ minor

No marks in AI

Dots in FE (→GE,EE)
..

In AI, the staccato articulation of the quavers, separated with rests, accompanying the semiquaver figuration (in bars 1-3, 5-6, 9-11), is marked only in bars 1 and 5. There is no doubt that the dots written there are to be understood as a model, hence valid also in the remaining bars.

category imprint: Differences between sources

b. 2-3

composition: Op. 25 No 2, Etude in F minor

Fingering in FED

Fingering in FED

Our suggestion

No teaching fingering
..

The fingering digits pairs written in FED and FES complement each other.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Annotations in FES