Issues : Authentic corrections of FE
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b. 14-15
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composition: Op. 25 No 6, Etude in G♯ minor
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The fingering of FE, coming undoubtedly from Chopin, was most probably added in the proofreading of this edition. The fingering was then repeated – inaccurately, without the last '5' in bar 14 and '2' in bar 15 – in EE2 (→EE3). It is characteristic that both here and in bars 17-18, Chopin probably considered the fingering of the top voice to be more natural than of the bottom one, since he gave only a few digits over the notes. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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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. 20
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composition: Op. 25 No 6, Etude in G♯ minor
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In FC (→GE1) and EE, lack of the slur running from the last quaver of the bar allows for a supposition that in FE the slur was added by Chopin at the time of proofreading of this edition. The slur was also added in GE2 (→GE3), most probably after analogy with bars 40-41. category imprint: Differences between sources issues: Authentic corrections of FE |
