mUltimate Chopin

Op. 25 No 6, Etude in G♯ minor

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

Pitch

b. 8

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

..

Same as in bar 4, FE, EE1 and GE1 misinterpreted here the abbreviated notation of FC and of the remaining Stichvorlage manuscripts, giving the 2nd, 3rd and 4th group of semiquavers without any accidentals. The mistake was corrected in EE2 (→EE3) and GE2 (→GE3).

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Errors in EE , Omissions to cancel alteration , Errors in GE , GE revisions , Inaccuracies in FC

b. 12

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

F-G-F in FE & EE, contextual interpretation of FC

A-G-F in GE1

A-G-F in GE2 (→GE3)
..

The third quaver in FC is incomplete and, hence, illegible. One can see there traces of an unfinished correction – the note head of the A note was deleted, most probably together with the  placed in front of it (which gives A), however, there is no note written instead of the deleted one. GE1 decided to print in this place A; in this version the 5th quaver, devoid of the accidental, is an F. In turn, the reviser of GE2 (→GE3) added a  in front of it, raising it to F. None of these versions can be authentic, which is confirmed by the compatible text of FE and EE with F on the third, and as a consequence, 5th quaver. According to us, it is most probably this version that was the only one written by Chopin and if it had not been for the so-called Terzverschreibung error committed by the copyist, it would have been included also in FC.

category imprint: Differences between sources

issues: Errors in GE , Errors of FC

b. 12

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

..

The sharp returning c2 appears in [A] (→FC→GE1) and EE1 only before the 9th semiquaver, which is undoubtedly a mistake committed by Chopin (the composer, same as in many other places, concentrated on marking the top voice only). In the remaining sources, the sign was moved to the correct place (FE and GE2 and GE3) or was only added in this place (EE2 and EE3).  

category imprint: Differences between sources

issues: EE revisions , Errors in EE , Omissions to cancel alteration , Errors in GE , GE revisions , Authentic corrections of FE , Errors of FC

b. 14

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

..

In front of a at the beginning of the bar, the sources include a superfluous .

category imprint: Editorial revisions; Source & stylistic information

issues: Cautionary accidentals , Last key signature sign

b. 17-18

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

..

In FC (→GE1) and FE there are no sharps returning d2 and c2 in the last group in bar 17 and c2 at the end of bar 18. EE and GE2 (→GE3) include the correct notation, which, in both cases, is a result of an editorial revision – in EE it is likely, in GE2 – certain.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Omissions to cancel alteration , Errors in GE , GE revisions , Errors of FC