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
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 5

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

..

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. 5

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

Fingering in FC (→GE) & EE

Fingering in FE

Fingering written into FED, contextual interpretation

Suggested complement to FED fingering
..

The chromatic third progression has two fingering versions in the sources:

  1. The fingering of FE (→GE) and EE, including 13 thirds in bar 5, printed also in FE in a completed version (the addition, undoubtedly performed by Chopin, was almost certainly introduced in the proofreading of this edition). All remaining chromatic progressions in this Etude were fingered by Chopin according to this scheme.
  2. The fingering written in FED over eight thirds in the 1st half in bar 5. According to us, they are to be interpreted as different from the printed proposal of fingering for the entire chromatic scale in these bars. Taking into account the fact that the first fingering was eventually indicated next to each third, we suggest a similar generalisation also for the second scheme, added in FED.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Differences in fingering , Authentic corrections of FE

b. 7-8

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

..

In FC, in both bars, the 2nd, 3rd and 4th group of semiquavers are written in an abbreviated manner as repetition of the first. Similarly in analogous places – cf., bars 19-20, 23-24, 35-36, 39-40, 49-50 and 53-54.

category imprint: Differences between sources

issues: Abbreviated notation of A

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
..

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

..

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