mUltimate Chopin

Op. 10 No 3, Etude in E major

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b. 42

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

No fingering in AI & A (→FE→GE)

Fingering in EE

Fingering written into FES
..

The fingering in EE is an addition by Fontana. In the main text we include the digit written at the end of the bar in FES, indicating the same, natural fingering – see bars 41-42.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FES

b. 42-45

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

No pedalling in AI & EE2

Pedalling in A & GE2 (→GE3→GE4→GE5)

FE (→GE1→GE1a)

EE3

EE4
..

In the main text we give the unambiguous pedalling of A. In FE (→GE1→GE1a) the indications were reproduced very inaccurately:  was omitted, while the  mark in bar 44 was misplaced (in EE2 there are no signs at all). The revisers of later GE and EE corrected and completed these indications at their own discretion and in the majority of the cases they achieved very similar results to Chopin notation.

category imprint: Differences between sources

issues: Errors in FE , Errors in EE

b. 42-43

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

..

Chopin omitted in A the last of the slurs embracing subsequent pairs of semiquavers. It is almost certainly an oversight, therefore, in the main text we suggest adding the slur. In FE (→GE1), the previous slur was also omitted, which was completed in EE2. The subsequent GE and EE have all slurs here. AI, in which all pairs of semiquavers are ascribed to the R.H., has one slur over the entire passage.

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

issues: EE revisions , Inaccuracies in FE , GE revisions

b. 42-43

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

Only R.H. (1 slur, contextual interpretation) in AI

Both hands (3 slurs) in A & EE2

Two slurs in FE (→GE1)

Four slurs in GE1a (→GE2→GE3→GE4→GE5) & EE3 (→EE4)
..

In AI the entire descending dyad passage is to be performed only by the R.H. The division into hands, adding brilliance and impressive virtuosity, is written already in the final form, without corrections in A (→FE→GE,EE). Chopin introduced a similar change in bars 44-45.

category imprint: Differences between sources; Corrections & alterations

b. 42

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

R.H. wedge in AI & A

No marks in FE (→GE,EE)

Wedges suggested by the editors
..

In the main text we give a wedge in the R.H. written in both autographs. Its absence in the editions is almost certainly a result of an oversight. The wedges at the beginning of bars 44 and 46, marked in A in the parts of both hands, suggest the need to add the sign in the L.H. also in bar 42.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in FE , Wedges