mUltimate Chopin

Op. 10 No 3, Etude in E major

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Pitch
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Pitch

b. 67

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

Semiquavers in AI & FE (→GE,EE2)

Crotchet in A

Semiquavers with slur in EE3 (→EE4)
..

The version of A seems to be only a temporary deviation from the original concept, as at the time of proofreading FE (→GE,EE), Chopin returned the semiquaver figure, used before in AI (as repetition of the motif from bar 14). We add a slur over the semiquavers, by analogy with the slur added by Chopin in a proofreading of FE (→GE,EE) in bar 14, as well as with the slurs in analogous bars 15 (proofreading of FE) and 68 (A). This addition was already introduced in EE3 (→EE4).

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Authentic corrections of FE

b. 68

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

..

In FE1 (→GE1), the bottom notes of the 3rd and 4th chords in the R.H. were replaced by mistake – e1 is on the 3rd semiquaver, while d1 on the fourth. The mistake – rather obvious compared with analogous bar 16 – was corrected in the subsequent GE and EE. In turn, in FE2 the correction was performed inaccurately, leaving the erroneous d1 in the 4th chord. It is worth mentioning that from the harmonic point of view, it is only the error on the 4th semiquaver that is striking; the version with e1 as the bottom note of both discussed chords would be perfectly possible.  

category imprint: Differences between sources

issues: EE revisions , Errors in FE , GE revisions , Authentic corrections of FE

b. 68

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

Triad in AI

Sixth in A (→FE→GE,EE)
..

The version of AI (written for bar 15) is earlier. In the main text we give the final editing of the remaining editions.

category imprint: Differences between sources; Corrections & alterations

b. 73-74

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

A & c1 in AI

c & c1 in A (→FE→GE,EE)
..

Lack of the  before the 6th semiquaver of the bottom voice in AI means that in both bars it is to be a c1. Knowing the final version, one can doubt whether Chopin simply forgot about the  before this note. The use of A as the 5th semiquaver in the L.H. is, however, a strong argument for the authenticity of the literally interpreted version of AI.

In A (→FE→EE2→EE3), there is no  before the last note in the R.H., which is a patent inaccuracy of the notation. In GE1 (→GE1a), the sign was completed in bar 74, while in the remaining editions – in both bars. 

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

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

b. 74

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

a in AI, A, EE & GE1a (→GE2→GE3→GE4→GE5)

b in FE (→GE1)
..

The version of FE (→GE1) is most probably erroneous, which is confirmed by a handwritten correction in FES. The mistake was corrected also in EE and in the subsequent GE.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , GE revisions , Annotations in FES