Issues : Errors in EE
b. 58-59
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composition: Op. 10 No 3, Etude in E major
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It is unclear whether Chopin wanted to mark the staccato of the quaver after the semiquaver triplet with a dot, as it is in A, or with a wedge, as it is in AI (only in bar 58) and FE (→GE,EE; in EE2 both signs were omitted, while in GE3 in bar 58 there is a dot). In this case, we consider A as the most reliable source. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , Errors in EE |
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b. 64
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composition: Op. 10 No 3, Etude in E major
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The pair of dynamic hairpins was overlooked in EE2. category imprint: issues: Errors in EE |
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b. 67-68
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composition: Op. 10 No 3, Etude in E major
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Both the placement of the sign in bar 67 and the shape of the accents in both bars are, according to us, a result of a less careful notation of the final part of the Etude by Chopin. Therefore, in the main text we suggest long accents modelled on the notation of A in bars 14-15. category imprint: Differences between sources issues: Long accents , Errors in EE |
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b. 70
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composition: Op. 10 No 3, Etude in E major
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Two signs in A – reproduced slightly inaccurate in FE (→GE1→GE1a) and EE3 (→EE4) – may be a result of Chopin's mistake, who, while adding (probably in a hurry) the performance indications, wrote hairpins instead of a slur. It is indicated by the comparison with analogous bar 17. Due to this fact, in the main text we suggest a slur instead of the top sign. Chopin indications were considered as erroneous already in GE2 (→GE3→GE4→GE5). category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Inaccuracies in FE , Errors in EE , GE revisions |
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b. 71-72
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composition: Op. 10 No 3, Etude in E major
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The type of the accents written by Chopin in A is not clear in these bars. According to us, the use of long accents is more likely in this context. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Errors in EE |