b. 27
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composition: Op. 10 No 3, Etude in E major
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In GE5 the last note is an erroneous quaver. category imprint: Differences between sources issues: Errors in GE , Rhythmic errors |
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b. 27
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composition: Op. 10 No 3, Etude in E major
..
The long accent in A (→FE→EE2→EE3) was reproduced in GE1 (→GE1a) as hairpins after bar 25. The homogeneity was maintained in subsequent GE, extending the sign even more, for four semiquavers. This arbitrary version was repeated also in EE4. category imprint: Differences between sources issues: Long accents , EE revisions , GE revisions |
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b. 27
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composition: Op. 10 No 3, Etude in E major
..
Looking at bar 29, one could wonder whether the hairpins added in a proofreading of FE (→GE,EE) were not mistakenly reversed, which was frequent in Chopin's works (cf. e.g. the Etude in C minor, No. 12, bar 53). category imprint: Interpretations within context; Differences between sources issues: Sign reversal |
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b. 28
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composition: Op. 10 No 3, Etude in E major
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There is no staccato dot over the 4th semiquaver in A. It is such an evident oversight that its presence in FE (→GE,EE) may be even a result of the engraver's inaccuracy. However, a conscious action of the engraver or Chopin's proofreading also cannot be excluded. category imprint: Differences between sources issues: Authentic corrections of FE , Inaccuracies in A |
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b. 29
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composition: Op. 10 No 3, Etude in E major
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In the main text we give most probably the only (except for AI, which is devoid of indications) authentic version of articulation signs – four staccato dots written in A, traditionally meaning small accents. The remaining versions are probably a result of imposition of errors and revisions of the editors. category imprint: Differences between sources issues: EE revisions , Errors in FE , Inaccuracies in GE , GE revisions |