Issues : EE revisions
|
b. 43-46
|
composition: Op. 10 No 3, Etude in E major
..
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 |
|||||||||||||||||||
|
b. 44-45
|
composition: Op. 10 No 3, Etude in E major
..
In A (→FE→GE1,EE2) Chopin omitted the last of the slurs embracing the next pairs of semiquavers. It is almost certainly an oversight, therefore, in the main text we suggest to add the slur. 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 issues: EE revisions , GE revisions |
|||||||||||||||||||
|
b. 46
|
composition: Op. 10 No 3, Etude in E major
..
The fingering visible in EE was added by Fontana. category imprint: Differences between sources issues: EE revisions |
|||||||||||||||||||
|
b. 48-53
|
composition: Op. 10 No 3, Etude in E major
..
In order to facilitate the interpretation of the chromatic progressions, we add a number of cautionary and reminding signs. Only a part of them are included in the sources, there are also situations where the sources have other signs of this type, according to us, unnecessary. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
|||||||||||||||||||
|
b. 48-52
|
composition: Op. 10 No 3, Etude in E major
..
In the autographs there are no sharps returning f
In bars 48-52, AI still lacks several accidentals, yet due to the octave doublings between the parts of both hands, it does not lead to any text doubts. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Accidentals in different octaves , Omissions to cancel alteration , Errors in GE , GE revisions , Authentic corrections of FE |
1 and f
in the L.H.).
instead of 
. The error was also in the proofreading copies of