Issues : Annotations in FES

b. 32-33

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

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In FES and FEJ there are visible deletions including bars 32-33. It is undoubtedly Chopin proposal of shortening and facilitating the Etude by eliminating the most difficult, virtuoso fragments. In FES there is also a quaver at the beginning of bar 34, allowing for a smooth combination of bars 31 and 34. The note is absent in FEJ, although slightly later there is a difficult to decipher entry, perhaps related to the discussed abbreviation. The next, longer abbreviation – see bars 36-40

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES , Annotations in FEJ

b. 36-40

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

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Same as in bars 32-33, in FES and FEJ there are visible deletions including bars 36-37. In this case, however, it is also the continuation that was deleted, until the end of bar 53 – see the note to bars 41-54. The abbreviation – certainly performed by Chopin – was probably supposed to enable less pianistically proficient pupils an amateur performance of the Etude. The fingering written in FES in bar 39, hence in the deleted bar, was probably written at another occasion (e.g. rewritten from another copy including Chopin indications.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES , Annotations in FEJ

b. 39

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

Fingering written into FES

No teaching fingering 

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In the main text we give the fingering coming probably from Chopin, introduced in FES. See bar 41

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 41-42

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

Fingering written in FES, interpretation

No teaching fingering

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The majority of the digits of the fingering added in FES is not written with Chopin's hand, which, however, does not question the authenticity of these indications, yet it increases a possibility of potential errors (e.g. on the 4th semiquaver of the bar, the top '4' is definitely erroneous, most probably it was supposed to be a '1'). The fingering could have been dictated by the composer, yet taking into account the fact that this entire virtuoso fragment is deleted in FES, it seems to be more likely that it was rewritten from another pupils' copy.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 41-54

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

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The deletions in bars 41-53, visible in FES and FEJ, are continuation of an abbreviation (which started in bar 36), facilitating an amateur performance of the Etude. In both copies, it was also the beginning of bar 54 that was modified, yet an accurate interpretation of Chopin's intention is not that easy there. The suggested interpretations do not exhaust all possibilities of interpretation of these entries.

The fingering written in FES – see the note to bars 41-42.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , Annotations in FES , Annotations in FEJ