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Op. 10 No 3, Etude in E major

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Verbal indications

b. 19

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

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category imprint: Source & stylistic information

issues: GE revisions

b. 20-40

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

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In FE (→GE,EE) Chopin abbreviation rall. in bar 20 was extended to rallent. 

In AI the indication is completely absent. Due to the working character of AI, we do not consider the lack of this and other performance indications as an equal version of a given fragment. In particular, when AI is not mentioned in the text of the note, which means that the discussed indication is not included in it.

category imprint: Differences between sources

b. 21

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

No indication in AI & A

poco più animato in FE (→GE,EE)

Our suggestion
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There is no doubt that the more vivid tempo is valid from the new phrase. The fact of placing the added in a proofreading of FE (→GE,EE) indication already at the beginning of bar 21 most probably stems from the fact that the bar is the last one on the page in FE and the inscription started in the middle of the bar, hence in the place, where the indication is to be applied, simply would not fit.

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

issues: Inaccuracies in FE , Authentic corrections of FE

b. 36

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

No mark in AI & A

in FE (→GE,EE)

– possible interpretation of FE (→GE,EE)
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The  indication appears in FE (→GE,EE) what urges to consider it a correction by Chopin. However, the comparison with the parallel passage in bars 30-33 rises doubts as to wether this sign was really intended – both four-bar sections have identical principal dynamic indications (, , cresc.) but there is no equivalent to the  sign in question. We can then suspect a misunderstanding of a  sign (quite frequent in FE – cf. bar 54) or even an outright mistake by the engraver overlooked by Chopin during proofreading. For these reasons we retain the A version in the main text, while regarding the vesion of the editions and its suggested interpretation as alternative readings.

category imprint: Interpretations within context; Differences between sources

issues: Authentic corrections of FE

b. 43

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

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The indication con forza begins in A (→FE→GE,EE) almost under the 3rd semiquaver in the bar. However, there is no doubt that it has to be obeyed from the second one.

category imprint: Differences between sources

issues: Centrally placed marks