mUltimate Chopin

Op. 25 No 2, Etude in F minor

Text Compare Notes Sources Description

Issues : Authentic corrections in GC

b. 39-40

composition: Op. 25 No 2, Etude in F minor

No indication in AW

in CDP

in GC (→GE), FE & EE
..

While writing [A], Chopin put here poco a poco cresc., same as in bars 36-37. The indication was copied to CDP, as well as to GC, in which Chopin, however, deleted it and replaced with cre – scen – do only. He had to introduce an identical change also in the base texts to FE and EE, which obliges us to assume this correction to be final.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections in GC

b. 39-40

composition: Op. 25 No 2, Etude in F minor

No markings in AW & CDP

Pedalling in bar 39 in GC (→GE) & EE

Pedalling in bars 39-40 in FE
..

Same as in bars 16-17 and 35-36, in the main text we give the pedalling of FE, which may be a result of Chopin's proofreading.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Authentic corrections in GC

b. 41-42

composition: Op. 25 No 2, Etude in F minor

No markings in AW & CDP

Pedalling in GC (→GE), FE & EE
..

Same as in bars 37-38, Chopin added the pedalling while developing the manuscripts dedicated for base texts to editions.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections in GC

b. 43-45

composition: Op. 25 No 2, Etude in F minor

w AW

&  in CDP

&  in GC (→GE), FE & EE
..

Differences in dynamic indications in bars 43 and 45 (as well as earlier in bars 36-37 and 39-40) show an evolution of Chopin's concept from the devoid of major contrasts version of AW to the published one, reaching an evident climax.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections in GC

b. 66-68

composition: Op. 25 No 2, Etude in F minor

No markings in AW

2 pedals in CDP & EE

3 pedals in GC (→GE) & FE 
..

Initially, in AW, the bars were devoid of pedalling marks. Chopin would then add them in two stages: the signs in bars 66 and 68, written in [A], were copied in all derivative sources, while the pedalling in bar 67 was added by Chopin in GC (→GE) and added either in the base text to FE or in the proofreading of this edition.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections in GC