mUltimate Chopin

Op. 10 No 3, Etude in E major

Text Compare Notes Sources Description

Issues : Errors in FE

b. 44-45

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

in A

in FE (→EE,GE1→GE1a→GE2→GE3)

in GE4 (→GE5)

Our variant suggestion
..

According to us, it is most probably the full indication written in A that is the only authentic one, while the omission of its first part in the editions is a mistake of the engraver of FE (→GE,EE) – cf. the adjacent note. However, Chopin might have accepted the indications of the editions in such form (cf. e.g. the Etude in E major, No. 11). In turn, it is hard to state whether the change in GE4 (→GE5) of con fuoco to con forza is a mistake or revision. 

category imprint: Differences between sources

issues: Errors in FE , Errors in GE

b. 45

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

 in AI

 in A

No sign in FE (→GE,EE)

Our variant suggestion
..

Lack of the  sign in FE (→GE,EE) seems to be one of numerous mistakes of the engraver of FE of this type. However, possibilities of a proofreading intervention of Chopin cannot be totally excluded here – cf. the adjacent note.

category imprint: Differences between sources

issues: Errors in FE

b. 48-50

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

No marks in AI & FE (→GE,EE)

Wedges in A
..

In the main text we give the wedges written in A. Their absence in FE (→GE,EE) is almost certainly a result of the engraver's negligence. The signs prove that Chopin wanted to preserve the pulsation compatible with the regular metric and rhythmic flow. It is also the different direction of the beams in the pairs of semiquavers at the transitions between bars 47-48 and 49-50 that underline the special meaning of these figures (in A Chopin deleted the already correct beams only to change their direction).

category imprint: Differences between sources

issues: Errors in FE

b. 48-52

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

..

In the autographs there are no sharps returning f1 and f3 at the 6th semiquaver in bar 49. From the harmonic point of view, f1 and f3 could be possible here, yet taking into account the regularity of the figuration's structure, one can assume this omission as a clear oversight. The signs were added – probably by Chopin – in a proofreading of FE (→GE,EE; in GE1 and GE1a there is no  in the L.H.).

In bars 48-52, AI still lacks several accidentals, yet due to the octave doublings between the parts of both hands, it does not lead to any text doubts.
In GE1, before the top note of the 5th semiquaver in the R.H. in bar 49 there is an erroneous  instead of . The error was also in the proofreading copies of FE1, yet it was corrected in the last proofreading.
In FE1 (→GE1,EE2→EE3) there is no  lowering f3 to f3 in the 5th semiquaver in bar 51. 

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Accidentals in different octaves , Omissions to cancel alteration , Errors in GE , GE revisions , Authentic corrections of FE

b. 54

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

No marks in AI & FE (→GE,EE)

Wedges in A
..

Lack of the wedges in the editions is most probably a mistake.

category imprint: Differences between sources

issues: Errors in FE , Wedges