mUltimate Chopin

Op. 10 No 3, Etude in E major

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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

b. 43-46

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

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In AI the octave progression in the L.H. in bars 43-44 and 45-46 is briefly written – the top notes and 8_ _ _|.

category imprint: Source & stylistic information

issues: Abbreviated octaves' notation

b. 58

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

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In AI the 2nd half of the bar is marked on the top stave as repetition of the first. See also the note on abbreviations in the L.H.

category imprint: Source & stylistic information

issues: Abbreviated notation of A

b. 58-59

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

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In AI the semiquavers of the bottom voice in the R.H. are marked in the 2nd half of bar 58 as repetition of the 1st half. The continuation of this part in the next bar is not marked at all, which is certainly an inaccuracy of notation. However, it is not entirely clear how this continuation was supposed to look like in Chopin's intention, as one can imagine a slightly different addition to the versions of the top voice of the R.H. written out with notes (on the top stave) than the one that was included in the final version, e.g. f-b-f-b in the 2nd half of the bar (a missing notation is not always the same as an obvious continuation – cf. the Etude in F minor, No. 9, bars 49-50). However, we assume that while finishing works on this fragment in AI, Chopin imagined the entire part of the R.H. in the final version.

category imprint: Interpretations within context; Differences between sources; Source & stylistic information

issues: Abbreviated notation of A

b. 60-61

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

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In the 2nd half of bar 60 and in the 1st half in bar 61, the top voice in the R.H. is written in AI as repetition of the figure from the 1st half of bar 60.

category imprint: Source & stylistic information

issues: Abbreviated notation of A