mUltimate Chopin

Op. 25 No 6, Etude in G♯ minor

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b. 39-40

composition: Op. 25 No 6, Etude in G♯ minor

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In FC, the 2nd, 3rd and 4th groups of semiquavers in bar 39 and two last in bar 40 are written in an abbreviated manner as repetition of the group, written with notes, preceding the // signs.

category imprint: Differences between sources

issues: Abbreviated notation of A

b. 40

composition: Op. 25 No 6, Etude in G♯ minor

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Based on the notation of FC, in this bar Chopin used in the manuscripts a more accurate notation than in the previous, similar places (c.f., e.g., bar 4) – apart from the first group of semiquavers, he wrote with notes also the second, together with the necessary accidentals. In spite of that, GE1 did not repeat the signs in the 2nd half of the bar, which was corrected only in GE2 (→GE3).

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 40

composition: Op. 25 No 6, Etude in G♯ minor

No fingering in FC (→GE) & EE

Fingering in FE
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The fingering in this and the next bar was added by Chopin most probably in the proofreading of FE.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 41

composition: Op. 25 No 6, Etude in G♯ minor

No fingering in FC (→GE) & EE

Fingering in FE
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The fingering was added by Chopin most probably in the proofreading of FE.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 42

composition: Op. 25 No 6, Etude in G♯ minor

a-c1 in contextual interpretation of FC, FE, GE1, EE1 (→EE2) and in GE2 (→GE3), EE3 & FED

a-c1 in FEJ & FES, contextual interpretation, and FED, possible interpretation

a-b suggested by the editors – enharmonic notation of FEJ & FES, 
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When publishing the Etude, Chopin envisaged c1 as the middle note of the chords from 4 to 7. The version is included in FC (→GE), FE and EE, yet only in GE and EE3 it was written without mistakes, with the necessary  lowering a to a. However, in all three preserved copies with Chopin's annotations there are entries proving the change of intention. In FEJ, a  lowering c1 to c1 was added in the 4th chord, in FES such naturals are before the 4th and 6th chords. In addition, the  added by Chopin before the 4th chord in FED, despite its lower position, can refer to the middle note (c1), as a should not have raised any doubts even without the necessary . Therefore, in all three cases Chopin changed the middle sound in the chords from 4 to 7 in a simplified enharmonically way from c1 to b. The version (our main text) bears features of Chopin improvement – in the original version, the effect of the change from c1 to b at the transition between bars 41 and 42 is reduced due to the later return of c1 in the middle of bar 42.  

category imprint: Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FED , Accompaniment changes , Annotations in FES , Authentic post-publication changes and variants , Annotations in FEJ