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b. 1
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composition: Op. 25 No 7, Etude in C♯ minor
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The slur in EE may be considered as a result of misunderstanding of the manuscript (perhaps inaccurate), if it were not for the extension of the slur written – most probably by Chopin – in FES. Therefore, it seems that a relevant indication of the overlapping phrases bothered Chopin both at the stage of preparing the Etude for print and many years later during the lessons. The versions of FE and GE1 and GE2 (→GE3) are most probably only conventional interpretations of the handwritten notation which can be seen in GC. category imprint: Differences between sources |
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b. 1
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composition: Op. 25 No 7, Etude in C♯ minor
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The fermatas added in FES are most probably a lesson note, being an attempt to shape the correct proportions in the rhythmically free performance of the initial phrase of the Etude. The signs, together with the fingering coming from this copy, prove that Chopin did not feel the need to correct the probably erroneous rhythm of the 4th and 5th note. category imprint: Differences between sources |
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b. 1
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composition: Op. 25 No 7, Etude in C♯ minor
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Placing the metronome indication already at the beginning of the Etude may be a result of the routine interpretation of the engravers of FE and EE who did not see a reason to separate it from the Lento indication. Cf. the Etude in A minor, No. 11, bars 1-5. category imprint: Differences between sources issues: Inaccuracies in FE , EE inaccuracies |
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b. 1-3
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composition: Op. 25 No 7, Etude in C♯ minor
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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 |
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b. 1
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composition: Op. 25 No 7, Etude in C♯ minor
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In GC (→GE1) and EE there is no category imprint: Interpretations within context; Differences between sources issues: Errors in EE , Omissions to cancel alteration , Errors in GE , GE revisions , Authentic corrections of FE |
returning f
at the beginning of the 2nd group of semiquavers of the introduction, which almost certainly corresponds to the notation of [A]. It is a very typical mistake of Chopin – cf., e.g., the Nocturne in C
major, Op. 29,