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Op. 10 No 3, Etude in E major

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b. 34

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

g1 in AI & A (→FE1→GE,EE)

g1 in FE2
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The main text (g1) comes from the sources of unquestioned authenticity – both autographs and FE1, corrected a few times by Chopin. The authenticity of the version with g1 is also highly likely, as Chopin wrote it initially in AI. However, it is not entirely clear whether the change introduced in FE2 was not a result of a misunderstanding at the time of proofreading.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 34-35

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

No signs in AI & FE (→GE)

  in A

Long accents in EE

Our suggestion
..

In FE (→GE), omission of the pair of short   hairpins visible in A in bar 34 is most probably a mistake. In EE in both bars long accents (diminuendoes?) modelled after bars 30-31 were arbitrarily added. In the main text we give the signs of A in bar 34, together with a proposal of adding them by analogy in bar 35 (in bars 30-31 Chopin marked both bars). 

category imprint: Differences between sources

issues: EE revisions , Errors in FE

b. 34

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

No fingering in AI & A (→FE→GE)

Fingering in EE
..

The fingering in EE was added by Fontana.

category imprint: Differences between sources

issues: EE revisions

b. 35

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

..

In AI the part of the R.H. in this bar was initially briefly marked as repetition of bar 34. Chopin then added the bottom voice, as a draft, in order to mark the difference.

category imprint: Differences between sources; Corrections & alterations

issues: Abbreviated notation of A

b. 36-40

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

..

Same as in bars 32-33, in FES and FEJ there are visible deletions including bars 36-37. In this case, however, it is also the continuation that was deleted, until the end of bar 53 – see the note to bars 41-54. The abbreviation – certainly performed by Chopin – was probably supposed to enable less pianistically proficient pupils an amateur performance of the Etude. The fingering written in FES in bar 39, hence in the deleted bar, was probably written at another occasion (e.g. rewritten from another copy including Chopin indications.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES , Annotations in FEJ