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Op. 25 No 7, Etude in C♯ minor

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b. 1

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

..

In GC (→GE1) and EE there is no  returning f at the beginning of the 2nd group of semiquavers of the introduction, which almost certainly corresponds to the notation of [A]. It is a very typical mistake of Chopin – cf., e.g., the Nocturne in Cminor, Op. 27 No. 1, bar 83, or the Impromptu in A major, Op. 29, bar 71. The sign was added in the proofreading of FE, most probably by Chopin, as well as in GE2 (→GE3). 

category imprint: Interpretations within context; Differences between sources

issues: Errors in EE , Omissions to cancel alteration , Errors in GE , GE revisions , Authentic corrections of FE

b. 1

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

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We add a cautionary  before b. A similar addition was already added in GE and EE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions , Cautionary accidentals

b. 1

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

 in GC (→GE)

 in FE & EE
..

It is hard to evaluate how the difference in the range of  hairpins was created. It is not certain whether the sign in GC (→GE) was rewritten by the copyist or added by Chopin – it differs both from the signs written certainly by Gutmann (e.g., in bar 22) and the signs certainly added by the composer (e.g., in bar 24 and 45-46). Taking into account the fact that Chopin could have extended the hairpins in the remaining manuscripts, as well as a possibility of an erroneous interpretation of the notation of GC – 6th and 7th note (a and g), as falling after diminuendo, one could consider them as the most silent – in the main text we give the version of FE and EE. 

category imprint: Differences between sources

issues: Scope of dynamic hairpins

b. 3

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

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The cautionary  before b was added in EE and GE2 (→GE3).

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions , Cautionary accidentals

b. 4

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

Double-dotted rhythm in GC (→GE) & EE

Single-dotted rhythm in FE
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One cannot see traces of performing changes in the rhythm of the top voice in the preserved sources. Moreover, it does not seem that one of the versions could have been erroneous; it is particularly excluded in the case of the rhythm of GC (→GE) and EE, confirmed by the compatible version of all sources in analogous bar 48. Therefore, it seems that the original single dotted rhythm, preserved in FE, was changed by Chopin into the double dotted rhythm in the base text to EE, from where it was copied to GC.

category imprint: Differences between sources

issues: Accompaniment changes , Dotted or even rhythm