mUltimate Chopin

Op. 25 No 6, Etude in G♯ minor

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Rhythm

b. 1

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

in FC, EE & GE2 (→GE3)

in FE & GE1
..

The use of  time signature surprises only in GE1, as FE did not use the  indication in the Etudes – contrary to the manuscripts – even once, neither in Op. 25 nor in Op. 10 and the Etude in F minor, Dbop. 36 No. 1 (cf. also the Impromptu in A major, Op. 29). In any case, the correctness and authenticity of the  time signature is undeniable with respect to the compatible version of FC and EE. The correct time signature was returned in GE2 (→GE3).

category imprint: Differences between sources

issues: Changes of metre , Inaccuracies in GE , Inaccuracies in FE , GE revisions , 4/4 or 2/2

b. 15

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

Crotchets in the middle voice in FC (→GE)

Quavers in the middle voice in FE

Quaver & crotchet in EE
..

Determining the affiliation of the middle components of chords to one of the two written voices sometimes poses a serious difficulty in Chopin's works. The notation is often inaccurate, there are also note heads which are not linked to any stem or just the opposite – linked with one stem going both upwards and downwards (cf., e.g., the autograph of the Etude in A minor, No. 4). This is a possible explanation of the differences in this bar between FC (→GE), FE and EE. Due to the fact that the authentic pedalling makes that this detail of notation influences the sound effect to a minor extent, in the main text we adopt the notation of the basic source, i.e. FE.   

category imprint: Differences between sources

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

b1 tied in FC (→GE) & EE

b1 repeated in FE

Our alternative variant suggestion
..

Repetition or sustention of the b1 note – see the note on the previous page.

category imprint: Differences between sources