mUltimate Chopin

Op. 25 No 2, Etude in F minor

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 11

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

No markings in AT & CDP

Pedalling in AW, GC (→GE), FE & EE
..

Despite the presence of indications in AW, it seems that the pedalling in GC and other Stichvorlage manuscripts, including [A], was added by Chopin in the last phase of preparations of base texts for edition, which explains its absence in CDP. Similarly in bar 30. 

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections in GC

b. 11-12

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

d2-e1-b-d2 in AT

b1-e1-d1-b1 in AW, CDP, GC (→GE), FE & EE
..

The written in AT broader positions of the L.H. were later changed by Chopin. Both in this place and in bar 8, the reason of the change was, however, probably the logic of leading the voices of the accompaniment.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 12-13

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

No signs in AT & AW

One sign  in CDP

Two signs  in GC (→GE), FE & EE
..

It is unclear whether according to Chopin diminuendo in these bars was supposed to be divided in two sections or not. In GC and CDP, bar 13 opens a new line of the text, hence it was most probably the same in [A]. In such a situation, two subsequent  or  signs were treated as equal to one, longer hairpins in Chopin's times. As two out of three sources based probably on [A] (GC and EE or FE) have divided signs and only one (CDP) – combined, in the main text we adopt the first notation.
However, most probably these bars, independently from the notation, are supposed to be embraced with one diminuendo wave, as it was unambiguously indicated in analogous bars 31-32.

category imprint: Differences between sources

issues: Inaccuracies in GE , Scope of dynamic hairpins , Hairpins denoting continuation

b. 12

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

No pedalling in AT, AW, #CG (→GE) & EE

Pedalling in FE
..

There is no reason to doubt the authenticity of the pedalling added in this bar probably in proofreading of FE. However, the omission of the respective indication in the remaining sources and no pedalling, in all sources, in analogous bar 31 make us suggest a variant solution.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 13-14

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

Fingering written into FES

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES