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Op. 10 No 3, Etude in E major

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b. 33

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

c2-e2 in AI, A & GE

b1-c2 in FE (→EE)
..

The c2-e2 third in AI and A is the original version, most probably left by inattention – the traces of similar corrections, e.g. on the 5th semiquaver of the previous bar, are visible both in AI and A. Chopin changed it in the last proofreading of FE (→EE), not included in GE.

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category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Omitted correction of an analogous place

b. 33

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

R.H. staccato dots in A

Dots under slur in FE (→GE,EE)
..

The slur over the dots in the part of the R.H. and the slur and dots in the L.H. were added, certainly by Chopin, in a proofreading of FE (→GE,EE). Similarly in bar 37.

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category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 33

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

 in A & GE2 (→GE3→GE4→GE5)

Long accent in FE & EE3 (→EE4)
..

According to us, the  hairpins written in A were initially overlooked in [FE0], and while completing the performance indications in this place (see the adjacent note), Chopin added in a proofreading of FE (→GE1) a long accent over the first of last three semiquavers. We give this version in the main text. In the subsequent GE the accent was replaced with ; the coincidence with the notation of A is most probably accidental. In EE2 the sign was overlooked, which was corrected in EE3 (→EE4).

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category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 34

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

No f semiquaver in AI

f on second semiquaver in A (→FE→GE,EE)
..

The version of AI, without the 2nd semiquaver in the bar (f), is undoubtedly earlier.

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category imprint: Differences between sources; Corrections & alterations

b. 34

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

d2 in AI & A (→FE→EE2→EE3)

d2 in GE & EE4
..

The sound of d2 at the beginning of the bar does not raise any doubts both in the autographs and in FE and EE2 (→EE3). Lack of the  lowering d1 to d1 on the 2nd semiquaver in bar 34 in A (→FE1→GE,EE) is an obvious oversight of Chopin (in the manuscripts and first editions of his pieces, we find hundreds of similar inaccuracies). However, the mistake was corrected only in FE2, as the problem of incompliance of d2 at the beginning of the bar and d1 on the 2nd semiquaver was solved by the engraver of GE by deleting the  before d2. The erroneous version with d2 and d1 was introduced – most probably under the influence of GE – also in EE4. One has to underline once again that both autographs – in spite of inaccurate notation – are completely unanimous, as far as the use of the B minor, and not B major, chord is concerned; this version is then confirmed by both a proofreading of FE2 and pupils' copies, bearing numerous signs of working on the Etude with Chopin.

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category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Omission of current key accidentals , Authentic corrections of FE