Fingering
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b. 15
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composition: Op. 25 No 6, Etude in G♯ minor
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According to us, the differences in the number of fingering digits are most easily explained in the following way. In [A] Chopin introduced 9 digits, as we see it in EE1. The last two were added in FC (→GE), overlooked by the copyist, while the tenth was added by Chopin, proofreading FE. The addition was repeated in EE2 (→EE3). Cf. bars 17-18. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 17-18
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composition: Op. 25 No 6, Etude in G♯ minor
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In FC (→GE), the fingering is written only in two characteristic places – under the descending chromatic scale in the 2nd half of bar 17, appearing in the Etude for the first time, and at the end of bar 18, where Chopin, at the change of direction of the figuration, indicated a different fingering from the general scheme. More digits in EE1 probably means that, still at the stage of preparing the Stichvorlage manuscripts, the composer considered these indications to be insufficient. Eventually, most probably while proofreading FE, he gave a full fingering of the bottom register and a few further indications for the top. The latter was repeated – without the last digit of the top voice – also in EE2 (→EE3). category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 19-20
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composition: Op. 25 No 6, Etude in G♯ minor
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It is hard to state how the difference between FC (→GE) and EE1 was created – it may be a result of Chopin additions to the base texts to EE (cf. bars 17-18) or Fontana's oversight. The additions were introduced by Chopin most probably in the proofreading of FE, they were also repeated in EE2 (→EE3). category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 21-22
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composition: Op. 25 No 6, Etude in G♯ minor
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These bars, being an exact repetition of bars 5-6, have no fingering in FC (→GE) and base text to EE (→EE1). It was most probably also the case of the base text to FE, as only at the time of proofreading this edition, Chopin added certain indications. They refer to the exact indications from bars 5-6 and 9-10, resembling less typical situations, related to the arrangement of two neighbouring white keys. Therefore, one can conclude that the composer considered the alternate use of 1-2 fingers (in the bottom voice) and 4-3 (in the top) to be typical for the successions of white and black keys, hence not requiring reminder. The fingering was repeated also in EE2 (→EE3). category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 23-26
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composition: Op. 25 No 6, Etude in G♯ minor
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The Chopin fingering – marked after the same rules as in the previous four-bar section – was most probably added at the time of proofreading FE. Later, the indications of EE2 (→EE3) were completed on the basis of this edition. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
