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b. 5-6

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

No markings in GC (→GE) & FE

Pedalling in EE

Our variant suggestion
..

According to us, the absence of pedalling indications in bars 5-6 in GC (→GE) and FE does not mean that the bars are to be performed without pedal. The deletions of the pedalling signs, visible in GC in bar 5 (as well as in bars 33, 35-36 and 47-48) prove Chopin's striving for simplicity rather than the will to differentiate the performance, e.g., bars 1-2 (with pedal) and 5-6 (without pedal). Therefore, we consider the indications of EE in the discussed bars to be valid, yet due to their absence in the remaining sources, in the main text we give them in brackets. 

category imprint: Differences between sources

b. 5-6

composition: Op. 64 No 3, Waltz in A♭ major

Slur continued in A (→FE→EE)

New slur in GE
..

Due to accumulating inaccuracies, caused by the transition to a new line – in FE and GE it begins in bar 6 – the slur in GE ends in bar 5, whereas bar 6 is embraced with a new slur (although in GE1op and GE1Ab the slur in bar 6 suggests a continuation). In the main text, we give the unequivocal slurring of A (→FE→EE). 

category imprint: Differences between sources

issues: Inaccuracies in GE , Uncertain slur continuation

b. 5

composition: Op. 25 No 6, Etude in G♯ minor

..

In FE (→GE1) the last two semiquavers in these bars were erroneously copied from the next group (the 3rd and 4th semiquaver in bar 6). The mistake was corrected in GE2 (→GE3).

category imprint: Differences between sources

issues: Errors in GE , GE revisions , Errors of FC

b. 5

composition: Op. 25 No 6, Etude in G♯ minor

..

The sources differ in notation of the accidentals on the 1st and 4th semiquavers of the last group. Due to the regularity of the figurations, it can be assumed that Chopin was thinking about b2-d3 and d3-f3. When the group is written without the octave sign, the text does not require any signs and this is the notation we see in FE. In the remaining sources, an octave sign was used (same as in the main text), which leads to the need of making the notation more precise:

  • In FC (→GE1) the last third is written at an erroneous pitch, hence the problem concerns only the 1st third, which is not preceded by any sign.
  • In EE1 there are also no signs before the 1st third, in turn, there are sharps before both notes of the last third. It is undoubtedly a mistake, as the  next to d3 makes sense only before the 1st third. In EE2 (→EE3) the  concerning d3 was not moved, yet a  was added before b2.
  • GE2 (→GE3) includes the notation compatible with the contemporary standards, adopted also in the main text.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , Errors in EE , GE revisions , Errors of FC

b. 5

composition: Op. 25 No 6, Etude in G♯ minor

Fingering in FC (→GE) & EE

Fingering in FE

Fingering written into FED, contextual interpretation

Suggested complement to FED fingering
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The chromatic third progression has two fingering versions in the sources:

  1. The fingering of FE (→GE) and EE, including 13 thirds in bar 5, printed also in FE in a completed version (the addition, undoubtedly performed by Chopin, was almost certainly introduced in the proofreading of this edition). All remaining chromatic progressions in this Etude were fingered by Chopin according to this scheme.
  2. The fingering written in FED over eight thirds in the 1st half in bar 5. According to us, they are to be interpreted as different from the printed proposal of fingering for the entire chromatic scale in these bars. Taking into account the fact that the first fingering was eventually indicated next to each third, we suggest a similar generalisation also for the second scheme, added in FED.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Differences in fingering , Authentic corrections of FE