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Op. 10 No 3, Etude in E major

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 10-13

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

Long accents in AI

Different accents in A

  in FE (→GE,EE)
..

In the main text, we give the consistent   pairs of hairpins over the semiquaver motifs in bars 10, 11 and 13, introduced by Chopin in a proofreading of FE (→GE,EE).

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 14-15

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

No marks in AI & FE (→GE,EE)

Accents in A
..

The missing accents over the 3rd semiquaver in these bars in FE (→GE,EE) could have been considered as a mistake, if it was not for the fact that in bar 14 there are visible traces of deleting an accent in FE. Taking into account numerous corrections of dynamic markings and accents in the first part of the Etude, in the main text we do not consider the accents of A.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 18

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

No sign in AI & FE (→GE,EE)

 in A
..

According to us, the missing  sign in FE (→GE,EE) is most probably a result of the engraver's inattention.

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 20

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

Long accent in A

Short accent in FE (→GE,EE)
..

The clear long accent, visible in A, was reproduced in FE (→GE,EE) as short. See the note below.

category imprint: Differences between sources

issues: Long accents

b. 21

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

Long accent in A

Short accent in FE (→GE,EE)
..

According to us, the accent written in A is to be interpreted as long. The sign in FE, despite that it recreates the notation of A quite accurately, due to the more constricted notation, is rather a short accent and this is how it was understood in GE and EE. 

category imprint: Differences between sources

issues: Long accents