mUltimate Chopin

Op. 10 No 3, Etude in E major

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 33

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

 in A & GE2 (→GE3→GE4→GE5)

Long accent in FE & EE3 (→EE4)
..

According to us, the  hairpins written in A were initially overlooked in [FE0], and while completing the performance indications in this place (see the adjacent note), Chopin added in a proofreading of FE (→GE1) a long accent over the first of last three semiquavers. We give this version in the main text. In the subsequent GE the accent was replaced with ; the coincidence with the notation of A is most probably accidental. In EE2 the sign was overlooked, which was corrected in EE3 (→EE4).

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 34

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

d2 in AI & A (→FE→EE2→EE3)

d2 in GE & EE4
..

The sound of d2 at the beginning of the bar does not raise any doubts both in the autographs and in FE and EE2 (→EE3). Lack of the  lowering d1 to d1 on the 2nd semiquaver in bar 34 in A (→FE1→GE,EE) is an obvious oversight of Chopin (in the manuscripts and first editions of his pieces, we find hundreds of similar inaccuracies). However, the mistake was corrected only in FE2, as the problem of incompliance of d2 at the beginning of the bar and d1 on the 2nd semiquaver was solved by the engraver of GE by deleting the  before d2. The erroneous version with d2 and d1 was introduced – most probably under the influence of GE – also in EE4. One has to underline once again that both autographs – in spite of inaccurate notation – are completely unanimous, as far as the use of the B minor, and not B major, chord is concerned; this version is then confirmed by both a proofreading of FE2 and pupils' copies, bearing numerous signs of working on the Etude with Chopin.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Omission of current key accidentals , Authentic corrections of FE

b. 34

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

g1 in AI & A (→FE1→GE,EE)

g1 in FE2
..

The main text (g1) comes from the sources of unquestioned authenticity – both autographs and FE1, corrected a few times by Chopin. The authenticity of the version with g1 is also highly likely, as Chopin wrote it initially in AI. However, it is not entirely clear whether the change introduced in FE2 was not a result of a misunderstanding at the time of proofreading.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 36

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

..

The cautionary  before A and a  before d2 are in AI, yet they were not included in A. Naturals before both notes of the octave were added in a proofreading of FE (→EE), most probably in the last phase, as they are absent in GE1. In subsequent GE, the signs were added together with cautionary sharps before d1-d2 in the R.H. The last addition is also present in EE4. 

The natural before a1 in the R.H. was added by us. 

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions , Cautionary accidentals , Authentic corrections of FE

b. 36

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

No mark in AI & A

in FE (→GE,EE)

– possible interpretation of FE (→GE,EE)
..

The  indication appears in FE (→GE,EE) what urges to consider it a correction by Chopin. However, the comparison with the parallel passage in bars 30-33 rises doubts as to wether this sign was really intended – both four-bar sections have identical principal dynamic indications (, , cresc.) but there is no equivalent to the  sign in question. We can then suspect a misunderstanding of a  sign (quite frequent in FE – cf. bar 54) or even an outright mistake by the engraver overlooked by Chopin during proofreading. For these reasons we retain the A version in the main text, while regarding the vesion of the editions and its suggested interpretation as alternative readings.

category imprint: Interpretations within context; Differences between sources

issues: Authentic corrections of FE