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b. 60-61
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composition: Op. 10 No 3, Etude in E major
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The fact of rejecting the two-part notation is an example of Chopin's striving for simplicity and economy of the notation, so characteristic for him. At the beginning of bar 60 in FE (→GE,EE), there is no stem combining f category imprint: Differences between sources; Corrections & alterations issues: Inaccuracies in FE |
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b. 60
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composition: Op. 10 No 3, Etude in E major
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In bar 60 in A there are visible traces of corrections of the written in this place indication. According to us, Chopin initially wrote smorz. and then transformed it to calando, which seems to be more accurate in this context. Eventually, FE (→GE,EE) has, however, a smorzando, which means that while proofreading FE, Chopin most probably returned to the original concept (however, it is possible that the engraver of FE deciphered the unclear inscription in a different manner than us). In the entire fragment presented on this page (bars 58-77), AI has significantly less performance indications. Wherever the omission of some of the indications undoubtedly results from the working notation of this autograph, their absence is not considered as an equal version of the discussed place. In practice, it means that if the content of the note does not mention AI, the discussed indication is absent in this autograph. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations |
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b. 60-61
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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 |
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b. 60-61
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composition: Op. 10 No 3, Etude in E major
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The extension of the slur in FE (→GE,EE) is almost certainly a result of Chopin's proofreading, hence we adopt this version to the main text. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 61
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composition: Op. 10 No 3, Etude in E major
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The change of top notes of the bottom voice of the R.H. from b-a in AI to a-b in A must be considered as final. Chopin did not change anything in this place, despite the fact that in a proofreading of FE he must have introduced various corrections and additions in this bar – he added poco rall., as well as changed something in the 2nd half of the bar on the top stave, where one can see traces of corrections concerning note heads. category imprint: Differences between sources; Corrections & alterations |
to e1, which is almost certainly a mistake.
