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Op. 10 No 3, Etude in E major

Text Compare Notes Sources Description

Issues : EE revisions

b. 34

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

No fingering in AI & A (→FE→GE)

Fingering in EE
..

The fingering in EE was added by Fontana.

category imprint: Differences between sources

issues: EE revisions

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 fingering in AI & A (→FE→GE)

Fingering in EE
..

The fingering of first three pairs of semiquavers in EE were added by Fontana.

category imprint: Differences between sources

issues: EE revisions

b. 38-40

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

..

The sources lack in some necessary cautionary accidentals – the fully correct text is only in GE4 (→GE5). If we take into consideration the logic of the figuration's structure, all these situations may be considered as obvious oversights, in spite of the fact that in a few cases the harmonic relations would allow to consider the created chords as possible. 

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , Omissions to cancel alteration , GE revisions , Errors of A , Authentic corrections of FE

b. 38-40

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

cresc. - - in AI

 in A, contextual interpretation

 cresc. in FE (→GE)

 cresc. in EE
..

Cresc. - - in AI is the original version, replaced in A with more precise indications. According to us, minor graphic differences in the notation of crescendos in A – both  and cresc. – are of random nature and are not supposed to suggest any differences in the interpretation of these indications. The engraver of FE (→GE) considered such a characteristic for Chopin imposition of the  sign and the cresc. indication as an unnecessary complication. In EE the range of the  signs in these bars was homogenised.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE