Issues : Errors in FE
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b. 1
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composition: Op. 10 No 3, Etude in E major
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In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and dedication (in EE) most probably come from the editors. See the Etude in C major, No. 1, bar 1. category imprint: Differences between sources issues: EE revisions , Errors in FE , Dedications , GE revisions |
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b. 6-7
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composition: Op. 10 No 3, Etude in E major
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In FE, in the part of the R.H. there are visible traces of correcting up to six erroneous notes in this bar. The engraver's errors resulted here from the routine approach, assuming the presence of the simplest figuration schemes – category imprint: Source & stylistic information issues: Errors in FE , Authentic corrections of FE |
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b. 17
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composition: Op. 10 No 3, Etude in E major
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Lack of a separate ten. for the L.H. is most probably a result of an inattention of the engraver of FE (→GE,EE). category imprint: Differences between sources issues: Errors in FE |
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b. 17
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composition: Op. 10 No 3, Etude in E major
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We consider the lack of slur in the editions as a mistake. category imprint: Differences between sources issues: Errors in FE |
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b. 29
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composition: Op. 10 No 3, Etude in E major
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In the main text we give most probably the only (except for AI, which is devoid of indications) authentic version of articulation signs – four staccato dots written in A, traditionally meaning small accents. The remaining versions are probably a result of imposition of errors and revisions of the editors. category imprint: Differences between sources issues: EE revisions , Errors in FE , Inaccuracies in GE , GE revisions |
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