mUltimate Chopin

Op. 25 No 6, Etude in G♯ minor

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b. 47-48

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

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The notation of accidentals in the sources shows significant inaccuracies and differences, which, however, do not cause any difficulties in interpreting Chopin's intentions. Due to the use of an octave sign in some of the sources, it is also unclear which signs have to be considered as necessary.
The most serious mistake is included in EE1, in which in bar 47 there is not a single  lowering a to a. FC (→GE1) and FE include a  giving an a3 before the 1st semiquaver; the sign was added only in EE2 (→EE3) together with a respective  in the L.H. In bar 48 in FC, FE and EE1, the  giving a1 appears only before the 3rd semiquaver; the necessary sign at the beginning of the bar was added in GE1 and EE2 (→EE3), yet only in EE2 (→EE3) the superfluous in this situation sign before the 3rd third was deleted. It is only GE2 (→GE3) that includes the completely correct notation.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , GE revisions , EE inaccuracies , Inaccuracies in FC

b. 48

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

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EE1 (→EE2) has a cautionary  only before d. The sign before the D minim – present in all the remaining sources – was added in EE3. 

category imprint: Differences between sources

issues: EE revisions

b. 49

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

B1 in FC (→GE) & EE

G1 In FE
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Compliance of FC (→GE) and EE allows to suppose that B1 was also in [A], while G1 in FE is a result of Chopin proofreading. Most probably it was actually a correction of quite a frequently encountered mistake in Chopin's works concerning the number of ledger lines (cf., e.g., the Etude in Gmajor, Op. 10 No. 5, bar 72.  

category imprint: Differences between sources

issues: Errors in EE , Terzverschreibung error , Errors in the number of ledger lines , Authentic corrections of FE , Errors of FC

b. 52

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

a1 in FC (→GE1→GE2), FE & EE

a1 in GE3
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The change introduced in GE3 is surprising due to the extent of misunderstanding of the harmony in this place, particularly if one takes into account the fact that it was introduced already in the 2nd half of the 19th century and the reviser of GE should have already known at least a few Chopin's pieces, in which a chord of a similar structure was used (g-f-a-c-e), as for example the Scherzo in B minor, Op. 20, bars 594-599, the Nocturne in F minor, Op. 55 No. 1, bars 22-23 and in B major, Op. 62 No. 1, bar 18, Polonaise-Fantaisie, Op. 61, bar 145, Barcarolle, Op. 60, bars 48-49. Chopin fingering, which completely does not fit the changed text, was also ignored. Similarly in analogous bar 56.

category imprint: Differences between sources

issues: GE revisions

b. 56

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

a2 in FC (→GE1→GE2), FE & EE

a2 in GE3
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Clamant revision of GE3 – see bar 52.

category imprint: Differences between sources

issues: GE revisions