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Op. 25 No 3, Etude in F major

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Articulation, Accents, Hairpins

b. 3

composition: Op. 25 No 3, Etude in F major

Accent in GC (→GE) & EE

No mark in FE
..

The missing accent in FE is probably a result of the engraver's or possibly copyist's oversight. It is also possible that Chopin himself, while completing and correcting the Stichvorlage manuscripts, omitted the base text to FE at the time of adding this sign.

category imprint: Differences between sources

b. 17-19

composition: Op. 25 No 3, Etude in F major

No signs in GC (→GE)

 in FE & EE
..

Both  signs (in bars 17 and 19) could have been accidentally omitted in GC (→GE) due to the placement of bars 17-20 at the end of the first page of the manuscript, devoid of any dynamic indications in the previous bars.

category imprint: Differences between sources

issues: No initial dynamic marking , Authentic corrections of FE

b. 23

composition: Op. 25 No 3, Etude in F major

in GC (→GE) & EE

No marking in FE
..

According to us, it is highly unlikely that Chopin deleted on purpose the  sign in the base text to FE or while proofreading this edition. It would mean that he resigned from the characteristic echo effect while repeating the motif one octave higher, an effect Chopin suggested – with the use of  in bar 23 and 43 – as one of the first dynamic changes introduced in [A] still before performing Stichvorlage copies (both  in GC are written with the copyist's hand). Therefore, we are probably dealing with the engraver's oversight.

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 29-31

composition: Op. 25 No 3, Etude in F major

Short accents in GC (→GE) & FE

Vertical accents in EE
..

Changes of accents from horizontal to vertical are a characteristic manner of EE, also in other compositions by Chopin. In this case, the change included three bars, without any relation to the music, which suggests that the engraver considered these accents to be synonymous.

category imprint: Differences between sources

issues: EE revisions

b. 37-40

composition: Op. 25 No 3, Etude in F major

  in GC (→GE) & GE

 in EE

Our variant suggestion
..

In EE, this four-bar section is provided only with  signs. The absence of  signs in bars 38 and 40 cannot be, however, considered as a mistake, as Chopin, in a similar way – with a pair of  signs – marked analogous bars 17-20. Therefore, it cannot be excluded that in bars 37-40 it is exactly the version of EE that corresponds to the final intention of Chopin. As the sources do not give basis for a clear conclusion, in the main text we suggest  signs in brackets, leaving their consideration at the discretion of performers.

category imprint: Differences between sources

issues: Scope of dynamic hairpins