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Op. 25 No 2, Etude in F minor

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Rhythm

b. 1

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

in AW, GC (→GE) & EE3

in CDP, FE & EE1 (→EE2)
..

The use of  time signature is surprising only in CDP and EE, as in FE the  indication in the Etudes – contrary to the manuscripts – was not used at all, neither in Op. 25 nor in Op. 10 and the Etude in F minor, Dbop. 36 No. 1 (see also the Impromptu in A major, Op. 29). In any case, the correctness and authenticity of the  time signature leaves no doubts – a two-beat bar is written in two autographs (AT and AW) and in GC, based on an autograph.
The revision of EE3 could have been performed after having compared it with one of GE.

AT has a 2/4 time signature, which is a part of the original rhythmic notation of the Etude, discussed in the adjacent note.

category imprint: Differences between sources

issues: Changes of metre , Inaccuracies in FE , 4/4 or 2/2

b. 1

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

..

According to us, the c2 quaver in AW may be a mistake, resulting from transition to two times bigger rhythmic values. The corresponding it rest in the part of the L.H. is illegible on the preserved photography of AW – for reasons of simplification, we assume it is a quaver rest.
The quaver and quaver rest in AT are a part of the original rhythmic notation of the Etude, discussed in the adjacent note.

category imprint: Differences between sources; Corrections & alterations

b. 1

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

c2 repeated in AT, AW, GC (→GE), FE & EE

c2 tied in CDP
..

The version of CDP may be a mistake – the copyist could have, e.g., misinterpret the extension of the phrase slur in [A]. However, it cannot be excluded that it is an authentic version, as the slur could have been included in  [A], where Chopin deleted it afterwards.  

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations

b. 1-14

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

..

In AT the Etude is written in 2/4 time signature, in two times smaller values – semiquaver triplets in the R.H. and quaver triplets in the L.H. It is the original concept, abandoned by Chopin not later than at the time of writing AW. The triplets of the L.H. do not have slurs in AT, which was probably related to the fact that the triplet grouping of the quavers unambiguously results from their beams.

category imprint: Differences between sources; Corrections & alterations

issues: Changes of metre

b. 15-20

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

..

In AT the Etude is written in 2/4 time signature, in two times smaller values – semiquaver triplets in the R.H. and quaver triplets in the L.H.

category imprint: Differences between sources