b. 27-28
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composition: Op. 25 No 7, Etude in C♯ minor
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The moment of ending the slur in GC is not entirely clear – it can be interpreted as including only bar 27, as it was done in GE1, or as reaching E1 in bar 28, as it is in GE2 (→GE3). According to us, it is the second interpretation that is correct. We give this version, present also in EE, in the main text. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions |
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b. 27
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composition: Op. 25 No 7, Etude in C♯ minor
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The fingering added by the reviser of EE2 (→EE3) is undoubtedly the only numeral written by Chopin in this bar in FES. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FES |
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b. 27
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composition: Op. 25 No 7, Etude in C♯ minor
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In FE there is no lowering g2 to g2 on the 1st chord of the bar, which is a patent error. The sign is in all remaining sources. All sources, together with FE, include a at this pitch before the chord on the 2nd beat of the bar. In the main text, we omit this unnecessary sign in this context. category imprint: Interpretations within context; Differences between sources issues: Errors in FE |
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b. 28
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composition: Op. 25 No 7, Etude in C♯ minor
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Chopin may have added the pedalling of this bar in all Stichvorlage manuscripts (certainly in GC, in which Chopin's hand is easily recognisable). However, he did not coordinate his entries – hence the differences between the sources. In the main text we give the most accurate indications of FE. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , EE inaccuracies , Authentic corrections in GC |
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b. 28
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composition: Op. 25 No 7, Etude in C♯ minor
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category imprint: Differences between sources issues: EE revisions |