b. 2-5
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composition: Op. 10 No 3, Etude in E major
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In the main text over the semiquaver motifs in bars 2, 3 and 5 we give consequent pairs of hairpins, introduced by Chopin in a proofreading of FE (→GE,EE). Both autographs include the previous concept, written more or less accurately, in which only the 3rd semiquaver in the bar is provided with an accent (generally long). Cf. the adjacent note on slurs. category imprint: Differences between sources; Corrections & alterations issues: Long accents , Authentic corrections of FE |
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b. 2-5
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composition: Op. 10 No 3, Etude in E major
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While proofreading FE (→GE,EE), Chopin introduced consistent half-bar-long slurs over the semiquaver motifs in bars 2, 3 and 5. They replaced the inaccurate and rather random slurring of the autographs. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 2-10
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composition: Op. 10 No 3, Etude in E major
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The accent over the crotchet in bar 2 was added most probably by Chopin in a proofreading of FE (→GE,EE). Taking into account the fact that the engravers often did not understand the sign of the long accent and used to reproduce it as a casual accent or – often longer – hairpins, in the main text we suggest a long accent, which in this context seems to be more appropriate. The same applies to bar 10. category imprint: Interpretations within context; Differences between sources issues: Long accents , Authentic corrections of FE |
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b. 3
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composition: Op. 10 No 3, Etude in E major
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The version of GE3 (→GE4→GE5) is an example of an error resulting from shifting the note by a third. category imprint: Differences between sources issues: Errors in GE , Terzverschreibung error |
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b. 3-12
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composition: Op. 10 No 3, Etude in E major
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The fact of beginning the slurs in bars 3-4 and 11-12 a half of the bar earlier is undoubtedly a result of Chopin proofreading of FE (→GE,EE). category imprint: Differences between sources issues: Authentic corrections of FE |