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Issues : Authentic corrections of FE
b. 21
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composition: Op. 10 No 3, Etude in E major
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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 |
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b. 28
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composition: Op. 10 No 3, Etude in E major
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There is no staccato dot over the 4th semiquaver in A. It is such an evident oversight that its presence in FE (→GE,EE) may be even a result of the engraver's inaccuracy. However, a conscious action of the engraver or Chopin's proofreading also cannot be excluded. category imprint: Differences between sources issues: Authentic corrections of FE , Inaccuracies in A |
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b. 32
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composition: Op. 10 No 3, Etude in E major
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The c category imprint: Differences between sources issues: Errors in FE , Authentic corrections of FE |
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b. 33
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composition: Op. 10 No 3, Etude in E major
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The c category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Omitted correction of an analogous place |
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b. 33
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composition: Op. 10 No 3, Etude in E major
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The slur over the dots in the part of the R.H. and the slur and dots in the L.H. were added, certainly by Chopin, in a proofreading of FE (→GE,EE). Similarly in bar 37. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |