Issues : GE revisions
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b. 38-40
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composition: Op. 10 No 3, Etude in E major
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In order to facilitate the interpretation of chromatic progressions, we add a number of cautionary and reminding signs. Only a part of them are in the sources; it also happens that the sources have different signs of this type, which are, according to us, superfluous. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions , Cautionary accidentals |
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b. 38
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composition: Op. 10 No 3, Etude in E major
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Before the top note on the 7th semiquaver, the category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , Errors resulting from corrections , GE revisions , Errors of A |
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b. 42-43
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composition: Op. 10 No 3, Etude in E major
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Chopin omitted in A the last of the slurs embracing subsequent pairs of semiquavers. It is almost certainly an oversight, therefore, in the main text we suggest adding the slur. In FE (→GE1), the previous slur was also omitted, which was completed in EE2. The subsequent GE and EE have all slurs here. AI, in which all pairs of semiquavers are ascribed to the R.H., has one slur over the entire passage. category imprint: Differences between sources; Editorial revisions; Corrections & alterations issues: EE revisions , Inaccuracies in FE , GE revisions |
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b. 43-46
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composition: Op. 10 No 3, Etude in E major
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All wedges given in the main text are in A. In FE (→GE1) only two signs at the beginning of bar 44 were reproduced. In EE2 even those were omitted, which was corrected in EE3 (→EE4), by adding two staccato dots in this place (there was also an arbitrarily added slur for the L.H. in bars 43 and 45). In the subsequent GE, wedges in bar 46 were added, while in GE5 those in bar 44 were omitted. According to us, Chopin could have accepted the lack of wedges over the chords in bars 43 and 45 (not to mention a possibility of their deletion in proofreading, which also cannot be entirely excluded), therefore, in the main text we leave their inclusion at the discretion of the performer. In turn, in the main text we explicitly give the wedges at the beginning of bars 44 and 46, which, as it seems, are to be considered jointly (cf. the signs in bars 42, 48 and 50). The indications of AI, despite being written only in the first pair of bars, indicate essential performance elements of these chord passages. category imprint: Differences between sources issues: EE revisions , Errors in FE , Errors in EE , Errors in GE , GE revisions |
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b. 44-57
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composition: Op. 10 No 3, Etude in E major
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In the editions, when the beam combined two notes out of which one was at the end of the line of the text and the other at the beginning of the next one, one did not use broken beams – both notes were provided with stems (semiquaver or quaver). In FE (→EE) it concerns bars 44-45, 47-48, 51-52 and 55-56, while in GE – bars 44-45, 47-48, 50-51, 53-54, 57-58 and – adopted from FE – 55-56. In mUltimate Chopin we consider these differences only in the case of quavers in bars 55-56 and 57-58. Cf. bars 58-60. category imprint: Source & stylistic information issues: GE revisions , FE revisions |
returning f
is only in 
