Issues : GE revisions
b. 1
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composition: Op. 25 No 6, Etude in G♯ minor
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In the main text we give the title and dedication after the title page of the entire opus in FC and FE. category imprint: Differences between sources issues: EE revisions , Dedications , GE revisions |
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b. 1
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composition: Op. 25 No 7, Etude in C♯ minor
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In the main text we give the title and dedication after the title page of the entire opus in GC and FE. category imprint: Differences between sources issues: EE revisions , Dedications , GE revisions |
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b. 1
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composition: Op. 25 No 6, Etude in G♯ minor
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The use of time signature surprises only in GE1, as FE did not use the indication in the Etudes – contrary to the manuscripts – even once, neither in Op. 25 nor in Op. 10 and the Etude in F minor, Dbop. 36 No. 1 (cf. also the Impromptu in A major, Op. 29). In any case, the correctness and authenticity of the time signature is undeniable with respect to the compatible version of FC and EE. The correct time signature was returned in GE2 (→GE3). category imprint: Differences between sources issues: Changes of metre , Inaccuracies in GE , Inaccuracies in FE , GE revisions , 4/4 or 2/2 |
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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 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 Cminor, Op. 27 No. 1, bar 83, or the Impromptu in A major, Op. 29, bar 71. The sign was added in the proofreading of FE, most probably by Chopin, as well as in GE2 (→GE3). 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 |
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b. 1
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composition: Op. 25 No 7, Etude in C♯ minor category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions , Cautionary accidentals |