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Issues : Annotations in FES

b. 1-3

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

No pedalling in GC (→GE), FE & EE

Pedalling written into FES

Our variant suggestion
..

The pedalling of FES is written with a hand of a pupil, yet one can believe that it corresponds to the indications coming from Chopin. Similarly in bar 5.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 1

composition: Op. 35, Sonata in B♭ minor, Mvt III

Fingering written into FES

No teaching fingering
..

The fingering was probably added by Chopin.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 1

composition: Op. 21, Concerto in F minor, Mvt II

in A (→GE) & EE

No indication in FE

written into FES
..

The absence of a dynamic indication is most probably an oversight of the engraver of FE. The addition of  in EE was performed probably on the basis of a comparison with bar 91. In turn, the  indication written in FES, in spite of the fact that there are no reasons to question its authenticity, is, however, most probably only an ad hoc lesson comment, correcting the absence of the dynamic indication in FE. Therefore, we do not consider it to be an expression of a general change of the dynamic concept of this introduction. 

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FES , Authentic post-publication changes and variants

b. 1-2

composition: Op. 28 No. 3, Prelude in G major

Fingering written into FED

Fingering written into FES

No teaching fingering in FCI & A (→FE,FC→GE)

Fingering in EE
..

In the main text we include the fingering entered by Chopin into FES, confirmed by an equivalent entry in FED, also Chopinesque. The much more abundant fingering of EE must be inauthentic; in addition, despite its initial compliance with the Chopinesque additions, it is almost certainly different from the one envisioned by the composer (unjustified use of the fingers 4-2 a sixth apart at the end of the 1st half of b. 1).

category imprint: Differences between sources

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

b. 1-2

composition: Op. 28 No. 6, Prelude in B minor

fingering written into FEJ

Fingering written into FES

No teaching fingering in A (→FE,FC→GE)

Fingering in EE

Our variant suggestion based on FEJ & FES
..

The fingering of the entire phrase comes from FEJ, and the only alternative entry in b. 1 – from FES. That fingering differentiation in those copies is most probably preserved also in identical b. 9. Anyway, it is very likely that the difference concerns only the d1 crotchet and the c1 quaver. We assume that both possibilities come from Chopin, even if they were not written by his hand. In turn, there are no grounds to consider the fingering of EE to be authentic, which we place over notes for the purpose of clarity.

category imprint: Differences between sources; Editorial revisions

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