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Op. 10 No 3, Etude in E major

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b. 41-42

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

No slur in A (→FE→GE,EE2)

Slur in EE3 (→EE4)

Our suggestion
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We consider the missing slur in the L.H. as an inaccuracy of notation – see notes to the slurs in the R.H. and to bars 38-40. The suggested addition is compatible with the slur adopted in the part of the R.H. In EE3 (→EE4) a slur was added in bar 41, probably modelled on the slurs from the previous bars.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 41

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

New  in AI & A (→FE→GE,EE)

Continued  suggested by the editors
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According to us, the  mark used by Chopin is to be understood as continuation of the previous one, which is indicated by the homogeneity of figurations and structural issues (four-bar section with 1+1+2 structure). In the times of Chopin, two signs  |  at the transition between the lines were commonly interchangeably used with  | .

category imprint: Interpretations within context; Differences between sources

issues: Hairpins denoting continuation

b. 41-42

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

..

In order to facilitate the interpretation of the chromatic progressions, we add a number of cautionary and reminding signs. All appear in the sources, although neither of them has all signs.

category imprint: Differences between sources; Editorial revisions

issues: Cautionary accidentals

b. 41

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

..

AI lacks a few accidentals cancelling the previous alterations – on the 3rd semiquaver in the bar  a2, on the 7th semiquaver  G, on the 8th semiquaver  F. The regular structure of figurations causes that all these situations can be considered as obvious oversights.

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration

b. 41-54

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

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The deletions in bars 41-53, visible in FES and FEJ, are continuation of an abbreviation (which started in bar 36), facilitating an amateur performance of the Etude. In both copies, it was also the beginning of bar 54 that was modified, yet an accurate interpretation of Chopin's intention is not that easy there. The suggested interpretations do not exhaust all possibilities of interpretation of these entries.

The fingering written in FES – see the note to bars 41-42.

category imprint: Interpretations within context; Differences between sources

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