Issues : Wedges
|
b. 38-40
|
composition: Op. 10 No 3, Etude in E major
..
The sources show numerous differences, as far as the indications of articulation of the first semiquavers in these bars are concerned, while the signs in particular sources are so inconsistent that it is hard to determine Chopin's intention in this issue. As it does not seem that Chopin intervened in the text of the editions in this respect, we consider A as the only authoritative source. In the main text we give the notation of A in the completed version, as Chopin additions of articulation in the L.H. in bar 37 and the dot at the beginning of bar 39 indicate the will to explicitly indicate the staccato articulation of the semiquavers in the L.H. in this section. Therefore, it seems to be rational to add dots at the beginning of bars 38 and 40. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in FE , Errors in EE , GE revisions , Wedges |
||||||||||||||
|
b. 42
|
composition: Op. 10 No 3, Etude in E major
..
In the main text we give a wedge in the R.H. written in both autographs. Its absence in the editions is almost certainly a result of an oversight. The wedges at the beginning of bars 44 and 46, marked in A in the parts of both hands, suggest the need to add the sign in the L.H. also in bar 42. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , Wedges |
||||||||||||||
|
b. 54
|
composition: Op. 10 No 3, Etude in E major
..
Lack of the wedges in the editions is most probably a mistake. category imprint: Differences between sources issues: Errors in FE , Wedges |
||||||||||||||
|
b. 55-57
|
composition: Op. 10 No 3, Etude in E major
..
In A it is not entirely clear with which staccato signs – dots or wedges – Chopin provided the A and E quavers in the middle of bars 44 and 57. In FE (→GE,EE) they were reproduced as wedges (in EE2 both signs were overlooked, while in GE3 and GE4 – the one in bar 57), yet, according to us, it is much more likely that Chopin had dots in mind. Cf. bars 58-60 where in similar motifs in A there are undoubtedly dots. In AI the signs are only in bars 57 (and 58) and they are undoubtedly wedges. However, it has to be emphasised that even the relatively accurate indications of AI, as e.g. in bar 43, were then changed by Chopin. See also bar 56. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in EE , Errors in GE , Wedges |
||||||||||||||
|
b. 56
|
composition: Op. 10 No 3, Etude in E major
..
The staccato dots on the 2nd and 3rd quavers visible in AI is the original version of the articulation, replaced in A by a slur and a dot. Moreover, in A Chopin provided the first quaver in the bar, B, with a wedge. Lack of both staccato signs in the editions is probably a mistake, yet it could have been accepted by Chopin. category imprint: Differences between sources; Corrections & alterations issues: Errors in FE , Wedges |
