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Op. 25 No 5, Etude in E minor

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b. 14

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

c2-b2 in FC, FE, EE & GE2 (→GE3)

c2-c3 in GE1
..

In GE1 it is c3 that is the top note of the semiquaver on the 3rd beat of the bar. It is certainly a mistake, corrected in GE2 (→GE3).

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 14-16

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

..

There is no  in bar 14 before the last note in the R.H. in FC, FE and EE1. Similarly in bar 16, where the sign is absent in FC and EE1, whereas it is present in FE (probably added still in the base text to this edition). These patent oversights of Chopin were completed in GE and EE2 (→EE3). 

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Errors in EE , Omissions to cancel alteration , GE revisions , Errors of FC

b. 15-23

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

Short accents in FC (→GE), FE & EE

Long accents suggested by the editors
..

In the main text we give long accents over the d1 minims, although the notation of the sources does not suggest it. According to us, it is highly likely that the signs of the autograph were misinterpreted both by the copyist and the engravers:

  • misunderstanding of the idea of Chopin long accents was common among the engravers;
  • generally, Fontana also did not notice the difference between both types of accents in his copies (he most probably considered it an inaccuracy of notation), which can be proved in the pieces in which, apart from the copy, we dispose of the copied autograph – cf. e.g., the Etude in A minor, No. 4, bars 9-10 or Tarantella, Op. 43, bars 164-178;
  • in the autograph of the Concerto in F minor, Op. 21, 3rd mov., bars 433-438, in a similar context Chopin introduced long accents. 

Similarly in bars 24 and 114-121.

category imprint: Interpretations within context; Editorial revisions

issues: Long accents

b. 15-16

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

 in FC (→GE)

No sign in FE & EE1 (→EE2)

 in EE3
..

In the main text we include the  sign written in FC (→GE). Shortening of the hairpins in EE3, most probably modelled after GE, probably resulted from lack of space between the staves.

category imprint: Differences between sources

issues: EE revisions , Scope of dynamic hairpins

b. 21

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

No fingering in FC (→GE), FE & EE1

Fingering in EE2 (→EE3)
..

EE2 (→EE3) added a non-authentic fingering.

category imprint: Differences between sources

issues: EE revisions