mUltimate Chopin

Op. 25 No 6, Etude in G♯ minor

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b. 8-10

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

No fingering in FC (→GE) & EE1

Fingering in FE

Fingering in EE2 (→EE3)
..

The fingering of FE, undoubtedly coming from Chopin, is almost certainly an addition introduced in the proofreading of this edition. The fingering was repeated in EE2 (→EE3), adding a '1' at the end of bar 8 (evident mistake).

category imprint: Differences between sources

issues: EE revisions , Authentic corrections of FE

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

Slur in FC, FE, EE & GE2 (→GE3)

No slur in GE1
..

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
..

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

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