mUltimate Chopin

Op. 25 No 6, Etude in G♯ minor

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b. 36

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

..

Same as in bar 4, in the main text we omit the superfluous  before a1, bottom note of the 4th third, present in all sources.

category imprint: Editorial revisions; Source & stylistic information

issues: Cautionary accidentals , Last key signature sign

b. 40

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

..

Based on the notation of FC, in this bar Chopin used in the manuscripts a more accurate notation than in the previous, similar places (c.f., e.g., bar 4) – apart from the first group of semiquavers, he wrote with notes also the second, together with the necessary accidentals. In spite of that, GE1 did not repeat the signs in the 2nd half of the bar, which was corrected only in GE2 (→GE3).

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 42

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

a-c1 in contextual interpretation of FC, FE, GE1, EE1 (→EE2) and in GE2 (→GE3), EE3 & FED

a-c1 in FEJ & FES, contextual interpretation, and FED, possible interpretation

a-b suggested by the editors – enharmonic notation of FEJ & FES, 
..

When publishing the Etude, Chopin envisaged c1 as the middle note of the chords from 4 to 7. The version is included in FC (→GE), FE and EE, yet only in GE and EE3 it was written without mistakes, with the necessary  lowering a to a. However, in all three preserved copies with Chopin's annotations there are entries proving the change of intention. In FEJ, a  lowering c1 to c1 was added in the 4th chord, in FES such naturals are before the 4th and 6th chords. In addition, the  added by Chopin before the 4th chord in FED, despite its lower position, can refer to the middle note (c1), as a should not have raised any doubts even without the necessary . Therefore, in all three cases Chopin changed the middle sound in the chords from 4 to 7 in a simplified enharmonically way from c1 to b. The version (our main text) bears features of Chopin improvement – in the original version, the effect of the change from c1 to b at the transition between bars 41 and 42 is reduced due to the later return of c1 in the middle of bar 42.  

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

issues: Annotations in teaching copies , Annotations in FED , Accompaniment changes , Annotations in FES , Authentic post-publication changes and variants , Annotations in FEJ

b. 42

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

g3-d4 in FC (literal reading→GE)

f3-d4 in FC (interpretation), FE & EE
..

FC has most probably f3 as the bottom note, same as FE and EE, however, the note head is written inaccurately, too high. FC includes a number of similar inaccuracies, cf., e.g., the bottom note of the 12th semiquaver in bar 11. In GE this note was misinterpreted as g3.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in GE , Inaccuracies in FC

b. 42

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

..

The natural lowering a1 to a1 is only in GE and EE3. It is a patent, characteristic for Chopin inaccuracy of notation, rightly revised in GE and EE3.
In all sources there is a superfluous  before d1 in the 1st chord in the bar.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Omission of current key accidentals