mUltimate Chopin

Op. 25 No 7, Etude in C♯ minor

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b. 60-61

composition: Op. 25 No 7, Etude in C♯ minor

Fingering written into FES

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 62

composition: Op. 25 No 7, Etude in C♯ minor

 in GC (→GE) & EE

Accent in FE

Accent &  in FES
..

The  sign, added by Chopin in FES, proves that the different indications present, on the one hand, in FE (accent) and, on the other, in GC (→GE) and EE (crescendo), may be considered as complementary. 

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Inaccuracies in FE , Annotations in FES , Authentic corrections of FE

b. 64-65

composition: Op. 25 No 7, Etude in C♯ minor

Fingering written into FES

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 66

composition: Op. 25 No 7, Etude in C♯ minor

e1 in GC (→GE) & EE

No e1 in FE
..

The traces visible in FE prove that e1 was removed from the 1st quaver of the bar at the time of proofreading. There are no doubts that this kind of change could have been introduced only by Chopin. Thanks to this change the effect of withering echo – bars 65 and 66 are a simplified harmonic repetition of bar 64 – becomes clearer.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE

b. 67

composition: Op. 25 No 7, Etude in C♯ minor

No sign in GC (→GE) & EE

 in FE
..

The  sign is present only in FE, which suggests a possible correction introduced by Chopin.

category imprint: Differences between sources

issues: Authentic corrections of FE