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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

Title & dedication in GC

Title & dedication in GE1

Title & dedication in GE2 (→GE3)

Title & dedication in FE

Title & dedication in EE1 & EE3

Title in EE2

Our suggestion
..

In the main text we give the title and dedication after the title page of the entire opus in GC and FE.
See the Etude in A major, No. 1. 

category imprint: Differences between sources

issues: EE revisions , Dedications , GE revisions

b. 1

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

Fingering written into FES

No teaching fingering
..

The characteristic, expressive Chopin fingering was written by the composer in FES.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 1

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

Normal size notes in GC (→GE) & EE

Small notes in FE
..

It is not certain whether Chopin imagined a barless introduction written with notes of normal size or with small ones. According to us, it is more likely that Gutmann did not recognise small notes in the notation of [A] and a similar mistake committed in the base text to EE or by the engraver of this edition (cf. the Prelude in C minor, Op. 45, bar 79) than an arbitrary change of regular notation to small notes in FE. Other scenarios explaining the origin of this difference are also possible, yet the notation with small notes, used more often in this type of time signature free fragments, generally seems to be more likely here.

category imprint: Differences between sources

b. 1

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

Quavers in GC (→GE) & EE

Crotchets in FE
..

In the main text we suggest quavers, as their authenticity is beyond any doubt. In turn, the crotchets in FE may be a result of the engraver's inattention – the spaces between the c-B and B-a notes correspond to the previous space c-c (quaver) and not G-d (crotchet), which probably means that the engraver planned the notes, seeing quavers in the base text, however, then he omitted this place while adding the beams. On the other hand, one cannot completely exclude Chopin's proofreading in FE – he may have accepted crotchets during the lessons, as an appropriate correction was not written in any of the three pupil's copies (two of them – FED and FES – bear clear traces of a detailed development of the Etude with Chopin, while in FES the first added fingering concerns exactly these two notes). 

category imprint: Differences between sources

issues: Errors in FE

b. 1

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

Fingering written into FED

Fingering written into FES

No teaching fingering

Suggested combination of Chopin's indications
..

The fingering written in FED and FES complement each other and partially overlap, hence in the main text we give them together.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Annotations in FES