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b. 32-33
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composition: Op. 10 No 3, Etude in E major
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In FES and FEJ there are visible deletions including bars 32-33. It is undoubtedly Chopin proposal of shortening and facilitating the Etude by eliminating the most difficult, virtuoso fragments. In FES there is also a B quaver at the beginning of bar 34, allowing for a smooth combination of bars 31 and 34. The note is absent in FEJ, although slightly later there is a difficult to decipher entry, perhaps related to the discussed abbreviation. The next, longer abbreviation – see bars 36-40. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEJ |
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b. 32-33
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composition: Op. 10 No 3, Etude in E major
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In EE2 there are no slurs in the L.H. starting from the second slur in bar 32. The signs were added in EE3 (→EE4), except for the slur at the transition between the bars. category imprint: Differences between sources issues: Errors in EE |
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b. 32
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composition: Op. 10 No 3, Etude in E major
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In GE3 (→GE4→GE5) the staccato signs (in the parts of both hands) were arbitrarily changed from authentic wedges to dots. category imprint: Differences between sources issues: GE revisions |
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b. 32
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composition: Op. 10 No 3, Etude in E major
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The notation of accidentals is inaccurate in some of the sources, which, however, does not create any problems in interpreting Chopin's intention. It concerns mostly AI, yet in A (→FE→EE2→EE3) there is also no category imprint: Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , Accidental below/above the note |
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b. 32-33
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composition: Op. 10 No 3, Etude in E major
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The fingering of first four pairs of semiquavers was added in EE by Fontana. category imprint: Differences between sources issues: EE revisions |
before g2 in the L.H. (in bar 33).
