mUltimate Chopin

Op. 10 No 3, Etude in E major

Text Compare Notes Sources Description
Page: 
Source: 
p. 1, b. 1-19
p. 1, b. 1-19
p. 2, b. 20-40
p. 3, b. 41-57
p. 4, b. 58-77
Main text
Main text
AI - Working autograph
A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Corrected impression of GE1
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
GE5 - Fifth German edition
EE - English edition
EE2 - First English edition
EE3 - Corrected impression of EE2
EE4 - Revised impression of EE3
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Notation
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Pitch
Rhythm
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Articulation, Accents, Hairpins
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Pedalling
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Differences
No differences
AI - Working autograph
A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Corrected impression of GE1
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
GE5 - Fifth German edition
EE - English edition
EE2 - First English edition
EE3 - Corrected impression of EE2
EE4 - Revised impression of EE3
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  b. 3

b in AI

e1 in A (→FE→GE,EE)

The version of AI is already the second attempt to shape the inner voices in this place. Initially, Chopin wrote the following version, schematically developing the idea included in the previous bar: . In bar 11 Chopin deleted in AI also the second version, replacing it with a version which was eventually adopted in all analogous bars. 

Compare the passage in the sources»

category imprint: Differences between sources

issues:

notation: Pitch

Missing markers on sources: A, AI, FE1, FE2, FED, FEJ, FES, GE1a, GE2, GE3, GE4, GE5, EE2, EE3, EE4, GE1
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