mUltimate Chopin

Op. 25 No 6, Etude in G♯ minor

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 21-22

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

No fingering in FC (→GE) & EE1

Fingering in FE & EE2 (→EE3)
..

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

b. 23-26

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

No fingering in FC (→GE) & EE1

Fingering in FE & EE2 (→EE3)
..

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

b. 29

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

..

In FC one can see that the  lowering e1 to e1 in the 1st chord was moved from before the minim. Traces of correction, consisting in adding this  in the 1st chord (which required moving the entire chord), are visible also in FE. Hence, the mistake was also probably in [A]. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Authentic corrections of FE

b. 30-31

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

Semiquaver d2 & tied b1 in FC & GE2

Quaver d2 & repeated b1 in FE

Quaver d2 & tied b1 in GE1

Semiquaver d2, rest & tied b1 in EE & GE3

Our alternative variant suggestion
..

Different versions of rhythmic notation of the last third are not easy to classify in terms of authenticity and chronology. The differences between particular sources concern three elements: the tie sustaining b1, the rhythmic value of the d2 note and semiquaver rest, completing the rhythmic values of the top voice. For the d2 note we adopt the form of the staccato quaver present in FE, as the version could have been corrected by Chopin. From the practical point of view, it is, however, only the tie or repetition of the b1 note that is important. Taking into account undeniable Chopin additions in FE in this and the next bar, to the main text we adopt the version without tie. In addition, we also suggest a variant solution with the tie in brackets, as Chopin's final intention concerning this issue is not entirely conclusive. 

category imprint: Differences between sources

issues: EE revisions , GE revisions , Authentic corrections of FE , Inaccuracies in FC

b. 31

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

No markings in FC (→GE) & EE

Pedalling in FE
..

The pedalling was added by Chopin most probably at the time of proofreading FE.

category imprint: Differences between sources

issues: Authentic corrections of FE