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Op. 25 No 6, Etude in G♯ minor

Text Compare Notes Sources Description

Issues : GE revisions

b. 5

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

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The sources differ in notation of the accidentals on the 1st and 4th semiquavers of the last group. Due to the regularity of the figurations, it can be assumed that Chopin was thinking about b2-d3 and d3-f3. When the group is written without the octave sign, the text does not require any signs and this is the notation we see in FE. In the remaining sources, an octave sign was used (same as in the main text), which leads to the need of making the notation more precise:

  • In FC (→GE1) the last third is written at an erroneous pitch, hence the problem concerns only the 1st third, which is not preceded by any sign.
  • In EE1 there are also no signs before the 1st third, in turn, there are sharps before both notes of the last third. It is undoubtedly a mistake, as the  next to d3 makes sense only before the 1st third. In EE2 (→EE3) the  concerning d3 was not moved, yet a  was added before b2.
  • GE2 (→GE3) includes the notation compatible with the contemporary standards, adopted also in the main text.

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

issues: EE revisions , Errors in EE , GE revisions , Errors of FC

b. 7-8

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

No accidentals in FC (→GE1), FE & EE

Naturals in GE2 (→GE3)

Naturals suggested by the editors
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In front of the 2nd semiquaver in each of these bars, there are no accidentals in the sources except for naturals added in GE2 (→GE3), which cannot come from Chopin. Therefore, it seems that the top note is supposed to be a2. However, there are strong grounds, both source (proved also in other pieces Chopin's doubts concerning the notation of a/a notes in the G minor key) and stylistic (natural harmonic passage), for considering it as Chopin's mistake. Therefore, in the main text we suggest to add naturals to achieve the sound of a2.

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

issues: Errors in FE , Errors in EE , Errors in GE , GE revisions , Last key signature sign , Errors of FC

b. 8

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

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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

Slur in FC, FE, EE & GE2 (→GE3)

No slur in GE1
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In GE1 there is no slur over three bass quavers.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 12

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

Two dots in FC (→GE1)

Four dots in FE & GE2

Two dots in EE & GE3
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In the main text we give four staccato dots in the 2nd half of the bar after FE, yet the version of EE with dots only over the bass grounds may also be authentic. Lack of dots over the last two quavers are most probably an oversight of FC (→GE1). The version was then revised in GE2 (to the version of FE) and GE3 (to the version of EE).

category imprint: Differences between sources

issues: GE revisions , Inaccuracies in FC