b. 6-8
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composition: Op. 10 No 10, Etude in A♭ major
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The cautionary before e2 at the beginning of bar 6 was added in a proofreading of FE (→GE,EE). In the main text we still add a few cautionary signs in bar 8 – flats before a2 on the 3rd and a1 on the 5th quavers, as well as a before f2 on the 6th quaver. The flats were already added in GE2 (→GE3→GE4), while the first of them also in EE4. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions , Cautionary accidentals , Authentic corrections of FE |
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b. 6
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composition: Op. 10 No 3, Etude in E major
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In the main text we include the fingering written by Chopin in FED. The abundant fingering of Fontana in EE includes, among others, an identical indication of double use of the 4th finger. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED |
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b. 6-7
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composition: Op. 10 No 3, Etude in E major
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In FE, in the part of the R.H. there are visible traces of correcting up to six erroneous notes in this bar. The engraver's errors resulted here from the routine approach, assuming the presence of the simplest figuration schemes – . category imprint: Source & stylistic information issues: Errors in FE , Authentic corrections of FE |
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b. 6
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composition: Op. 10 No 3, Etude in E major
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At the time of writing AI, Chopin was still looking for the best melodic continuation for the first, five-bar-long phrase. In the 1st half of the bar, after numerous deletions, he wrote two versions, out of which it was eventually the second one that was adopted, marked in this manuscript as ossia. The only version of the 2nd half of the bar was then changed in A. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations |
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b. 6
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composition: Op. 10 No 3, Etude in E major
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The fact of shortening the hairpins in FE (→GE,EE) is certainly an arbitrary decision of the engraver. category imprint: Differences between sources issues: Inaccuracies in FE |