b. 8
|
composition: Op. 10 No 3, Etude in E major
..
The indications ten. and ritenuto were added by Chopin in a different time – the first already in A, while the second only in a proofreading of FE (→GE,EE). category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
||||||||
b. 8-9
|
composition: Op. 10 No 3, Etude in E major
..
Already at the stage of writing A, Chopin withdrew from the original version of the ending of the 1st eight-bar section, written in AI. However, it was only in FE (→GE,EE) that he gave the final shape to the performance indications of this fragment. category imprint: Differences between sources; Corrections & alterations |
||||||||
b. 8
|
composition: Op. 10 No 3, Etude in E major
..
In the main text, we give the fingering of the L.H. added by Chopin in a proofreading of FE (→GE). According to us, the fingering was meant to dissipate any possible doubts concerning the division between the hands – in this particular place moving the bottom voice of the R.H. to the bottom stave may suggest its performance by the L.H. The fingering is absent in EE, which may be an oversight of the engraver or a revision of Fontana, who focused on the R.H. (in bars 1-14 he provided fingering to almost every note in the R.H.). category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
||||||||
b. 8-9
|
composition: Op. 10 No 3, Etude in E major
..
The long accent over the d1-b1 sixth in bar 8 and the hairpins in bar 9 were added by Chopin in a proofreading of FE (→GE,EE). The composer replaced with them the previous sign in bar 8, written in A. category imprint: Differences between sources issues: Long accents , Authentic corrections of FE |
||||||||
b. 9-13
|
composition: Op. 10 No 3, Etude in E major
..
In EE Fontana repeated here his fingering from bars 1-5. category imprint: Differences between sources issues: EE revisions |