mUltimate Chopin

Op. 25 No 7, Etude in C♯ minor

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b. 22-24

composition: Op. 25 No 7, Etude in C♯ minor

Simplified version in FEJ (contextual interpretation)

Simplification with fingering in FES (interpretation)

No teaching simplifications
..

In FES and FEJ the runs of the L.H. were reduced to four last notes, which were entrusted with the value of a semiquaver. It is undoubtedly a facilitation aiming at possibilitating an amateur performance of the Etude to the technically less advanced pianists. As in both places FES includes Chopin fingering, concerning the original, full version of these passages, we consider the introduced facilitations as the ossia più facile versions and we include them in the form of variants of the basic text of these sources.

The notation of FEJ is of a more draft nature, transferring only the general idea of this facilitation. It is probably the reason of leaving the a1 note in the last chord in the R.H. in bar 24, which is gauche from the piano and sound point of view.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FES , Authentic post-publication changes and variants , Annotations in FEJ

b. 23-24

composition: Op. 25 No 7, Etude in C♯ minor

Fingering written into FES

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 23

composition: Op. 25 No 7, Etude in C♯ minor

 in GC (→GE) & EE3

 in FE

No sign in EE1 (→EE2)
..

In the main text we give the unambiguous  hairpins written in GC (→GE). The  sign in FE may be a result of a frequently encountered print error consisting in inserting the mirror-image of the intended sign (cf., e.g., the Etude in C minor, Op. 10 No. 12, bar 53). The absence of the sign in EE1 (→EE2) is most probably a result of inattention, while its addition in EE3 – a revision based on GE.

category imprint: Differences between sources

issues: Errors in FE , Sign reversal

b. 24

composition: Op. 25 No 7, Etude in C♯ minor

Fingering written into FED

Fingering written into FES

Chopin's fingering jointly

No teaching fingering

Fingering in EE2 (→EE3)
..

The first two numerals written in FED are compatible with the entry in FES, which allows for considering the '5' visible in the second copy as an addition to the fingering of FED. In this version we give this fingering – analogous with the Chopin fingering in bar 22 – in the main text. As far as the continuation of the fingering of FES is concerned, the numerals concerning  g and a are probably erroneous, while the last four, written under the semiquaver beam, defining the shortened version of this passage, concern exactly this simplified version – see the note to bars 22-24. The fingering of EE2 (→EE3), in spite of being more comfortable, is, however, certainly non-authentic.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , EE revisions , Annotations in FED , Differences in fingering , Annotations in FES

b. 24

composition: Op. 25 No 7, Etude in C♯ minor

Fingering in FED

No teaching fingering

Fingering in EE2 (→EE3)
..

In FED, playing the g1-a1 second with the 1st finger was marked by Chopin in the way adopted by us in the main text. The same indication in FES has a form of only one big 'one', referring to both notes. 
The reviser of EE2 (→EE3) also marked the performance of this chord in this way.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FED , Annotations in FES