mUltimate Chopin

Op. 10 No 3, Etude in E major

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Rhythm

b. 27

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

..

In GE5 the last note is an erroneous quaver.

category imprint: Differences between sources

issues: Errors in GE , Rhythmic errors

b. 30-35

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

One voice in AI

Two voices in A (→FE→GE,EE)

Contemporary notation
..

The one-part notation in bars 30-31 and 34-35 in AI was replaced with two-part notation already at the stage of writing A (in the first half of bar 30 and 2nd half of bar 34 there are visible traces of removing some elements of the original script – the semiquaver beams and downwards stems of the upper part notes). Chopin used here an earlier notation, in which the extension to the next bar could be marked with a dot left at the beginning of that bar. In the main text we change this currently not used notation for the contemporary notation with the use of ties. Cf. the note concerning the R.H.

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

issues: Corrections in A

b. 30-35

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

Plain quavers in AI

Dotted quavers in A (→FE→GE,EE)

Contemporary notation
..

The seemingly incomplete rhythmic notation in bars 30-31 and 34-35 in AI is, however, understandable in the context of regular semiquavers in the L.H. Chopin did not always pay attention to the precise notation of the complementary voices, hence we present this notation without additions. This notation was clarified by Chopin himself already in A. The composer used an earlier notation, in which the extension to the next bar could be marked with a dot left at the beginning of that bar. In the main text we change this currently not used notation for the contemporary notation with the use of ties. Cf. the note concerning the L.H. 

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

b. 42-43

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

Only R.H. (1 slur, contextual interpretation) in AI

Both hands (3 slurs) in A & EE2

Two slurs in FE (→GE1)

Four slurs in GE1a (→GE2→GE3→GE4→GE5) & EE3 (→EE4)
..

In AI the entire descending dyad passage is to be performed only by the R.H. The division into hands, adding brilliance and impressive virtuosity, is written already in the final form, without corrections in A (→FE→GE,EE). Chopin introduced a similar change in bars 44-45.

category imprint: Differences between sources; Corrections & alterations

b. 44-57

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

..

In the editions, when the beam combined two notes out of which one was at the end of the line of the text and the other at the beginning of the next one, one did not use broken beams – both notes were provided with stems (semiquaver or quaver). In FE (→EE) it concerns bars 44-45, 47-48, 51-52 and 55-56, while in GE – bars 44-45, 47-48, 50-51, 53-54, 57-58 and – adopted from FE – 55-56. In mUltimate Chopin we consider these differences only in the case of quavers in bars 55-56 and 57-58. Cf. bars 58-60.

category imprint: Source & stylistic information

issues: GE revisions , FE revisions