mUltimate Chopin

Op. 25 No 5, Etude in E minor

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b. 8-11

composition: Op. 25 No 5, Etude in E minor

..

Before g2 at the end of bars 8 and 11, GE added cautionary naturals. It is most probably an editorial revision. The addition was introduced – probably under the influence of GE – also in EE3.

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 8

composition: Op. 25 No 5, Etude in E minor

a in chord in FC (→GE) & EE

f in FE
..

The version of FE (a chord with f) is a result of Chopin proofreading from the version of the remaining sources (a chord with a). The traces of performing changes in print are present in FE both in this bar and in analogous bar 105. In a similar place in bar 36, all sources feature a chord with f. 

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE

b. 9

composition: Op. 25 No 5, Etude in E minor

f in FC (→GE) & EE1

E in FE & EE2 (→EE3)
..

Both versions of the 1st note of this bar are undoubtedly authentic, yet determining which one could have been considered final by Chopin faces major difficulties. The version with f seems to be later, as in FC one can see a correction in which the composer most probably deleted E and added f, whereas a similar correction was most probably also in the base text to EE. However, while proofreading FE later, Chopin did not introduce this change, in spite of the fact that he corrected the last chord in bar 8, positioned just next to it (1 cm). Therefore, in the main text we follow the version of the base source, i.e. FE.  

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Chopin's hesitations , Accompaniment changes , Authentic corrections of FC

b. 12-14

composition: Op. 25 No 5, Etude in E minor

 in FC (→GE)

 in FE & EE
..

The sources differ in the moment when the  hairpins start. To the main text we adopt the version of FC (→GE), in which the earlier beginning of the sign is synchronised with the harmonic change. We discuss the issue of the ending of the hairpins in the note concerning .

category imprint: Differences between sources

issues: Scope of dynamic hairpins

b. 14

composition: Op. 25 No 5, Etude in E minor

 in FC & FE, probable interpretation

 in GE (possible interpretation of FC)

No markings in EE1 (→EE2)

 in EE3
..

The  sign is placed in the sources between the 1st and 2nd beat of the bar, so it is unclear from which moment it is supposed to be valid. It is particularly visible in FC – a big sign, placed in the centre, seems to include the first two beats of the bar. However, when interpreted formally, it is valid only from the 2nd beat and this is how it was understood in GE. In the main text we assume that the hint refers to the entire bar (in any case, to the entire initial part of it). It is also compatible with the interpretation of FE.

The  reach , hence the moment of their ending depends on the location of this sign.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Centrally placed marks