mUltimate Chopin

Op. 10 No 3, Etude in E major

Text Compare Notes Sources Description

Issues : Errors in FE

b. 32

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

b-c1 in AI, A, FE2, GE, EE

c1-d1 in FE1
..

The c1-d1 second at the 5th semiquaver in the bar is almost certainly a mistake of FE1, corrected in FE2. The change to b-c1 was introduced also in GE and EE, perhaps on the basis of analogy with bar 36. 

category imprint: Differences between sources

issues: Errors in FE , 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. 39

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

..

In FE (→GE,EE) there is no fingering digit for the bottom note (1).

category imprint: Differences between sources

issues: Errors in FE

b. 42-45

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

No pedalling in AI & EE2

Pedalling in A & GE2 (→GE3→GE4→GE5)

FE (→GE1→GE1a)

EE3

EE4
..

In the main text we give the unambiguous pedalling of A. In FE (→GE1→GE1a) the indications were reproduced very inaccurately:  was omitted, while the  mark in bar 44 was misplaced (in EE2 there are no signs at all). The revisers of later GE and EE corrected and completed these indications at their own discretion and in the majority of the cases they achieved very similar results to Chopin notation.

category imprint: Differences between sources

issues: Errors in FE , Errors in EE

b. 43-46

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

Dots & slur in AI

18 wedges in A

2 wedges in FE (→GE1)

No marks in EE2

2 dots in EE3 (→EE4)

4 wedges in GE1a (→GE2→GE3→GE4)

2 wedges in GE5

Our variant suggestion
..

All wedges given in the main text are in A. In FE (→GE1) only two signs at the beginning of bar 44 were reproduced. In EE2 even those were omitted, which was corrected in EE3 (→EE4), by adding two staccato dots in this place (there was also an arbitrarily added slur for the L.H. in bars 43 and 45). In the subsequent GE, wedges in bar 46 were added, while in GE5 those in bar 44 were omitted. According to us, Chopin could have accepted the lack of wedges over the chords in bars 43 and 45 (not to mention a possibility of their deletion in proofreading, which also cannot be entirely excluded), therefore, in the main text we leave their inclusion at the discretion of the performer. In turn, in the main text we explicitly give the wedges at the beginning of bars 44 and 46, which, as it seems, are to be considered jointly (cf. the signs in bars 42, 48 and 50). The indications of AI, despite being written only in the first pair of bars, indicate essential performance elements of these chord passages. 

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Errors in EE , Errors in GE , GE revisions