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In GC the fact of adding the eighth demisemiquaver (g
) does not raise any doubts – the note is visibly inserted between the two adjacent ones. The addition was supposed to change the correctly written original version (and not, e.g., to correct the copyist's error), as the entire group is provided with the number 13, corresponding to the number of notes before the addition. Such a change could have been introduced only by Chopin and, considering the fact that he never withdrew from it, it can be considered to be final.
However, on the other hand, Chopin did not take care of introducing this version in the remaining Stichvorlage manuscripts; he also did not do it while proofreading FE. He also did not question the original thirteen-note version in the pupil's copies, which was hence accepted by him during the lessons.
The original version includes the characteristic melodic turn including three notes, out of which the first two circle the last of them – f
-a-g. It appears – on different sounds – on a number of times in the entire Etude, e.g., 8 times as g-b-a in the first 16 bars (the introduction and bars 3, 4, 6, 8, 12, 15 and 16). What could have been the reason for withdrawing from this turn then? Chopin might have wanted to refer to the figure beginning this bar in order to preserve its homogeneity and preferred to wait for the next bar with the recall of the described motif, where it appears five times (including 3 times in the form of a chain combination).
Therefore, it cannot be excluded that we are dealing with Chopin's hesitation between the two source versions (an example of this hesitation, proved with corrections, can be found in bar 25).
category imprint: Differences between sources; Corrections & alterations
issues: Main-line changes, Authentic corrections in GC
notation: Pitch
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