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Issues : Errors in FE
b. 44-45
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composition: Op. 10 No 3, Etude in E major
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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 category imprint: Differences between sources issues: Errors in FE , Errors in GE |
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b. 45
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composition: Op. 10 No 3, Etude in E major
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Lack of the category imprint: Differences between sources issues: Errors in FE |
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b. 48-50
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composition: Op. 10 No 3, Etude in E major
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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 |
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b. 48-52
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composition: Op. 10 No 3, Etude in E major
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In the autographs there are no sharps returning f
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. 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 |
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b. 54
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composition: Op. 10 No 3, Etude in E major
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Lack of the wedges in the editions is most probably a mistake. category imprint: Differences between sources issues: Errors in FE , Wedges |