Issues : EE revisions
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b. 1
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composition: Op. 25 No 3, Etude in F major
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In the main text we give the title and dedication in accordance with the title page of the entire opus in GC and FE. category imprint: Differences between sources issues: EE revisions , Dedications , GE revisions |
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b. 4
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composition: Op. 25 No 3, Etude in F major
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EE1 omitted the bass clef at the end of the bar. This patent error, frequent in Chopin sources, was already corrected in EE2 (→EE3). category imprint: Differences between sources issues: EE revisions , Errors in EE |
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b. 20-24
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composition: Op. 25 No 3, Etude in F major
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The majority of the sources are missing some of the necessary cautionary signs (flats), which, however, only to the minimal extent impedes the correct interpretation of the text. As it can be concluded from the notation of FE, probably the closest to the notation of [A], Chopin generally omitted the sign next to the note, which already appeared in the same bar, with a relevant sign, one octave lower or higher (in the discussed fragment, FE lacks 12 flats). In GC and EE1 the notation is more precise, further additions were also introduced in EE2 (→EE3), yet only GE has a fully correct text. Similarly in bars 25-28. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions , EE inaccuracies , Inaccuracies in GC |
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b. 25-28
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composition: Op. 25 No 3, Etude in F major
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Similarly as in bars 20-24, although to a lesser extent, the notation of [A] lacks a few – five in total – necessary sharps and naturals (as notation of the autograph, one can feel free to consider the compatible version of GC and FE). It does not impede the correct interpretation of the text. In EE1 the notation is far more accurate (only the category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions , EE inaccuracies , Inaccuracies in GC |
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b. 29-31
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composition: Op. 25 No 3, Etude in F major
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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 |
major, 
before the 1st f
1 in the R.H. in bar 25 was overlooked), whereas the remaining editions have the totally correct text.
