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b. 29-30
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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 |
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b. 30
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composition: Op. 25 No 7, Etude in C♯ minor
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The version of FE with an additional, sustained d The notation of the sources is a result of changes in the rhythmic structure of the accompanying part, introduced by Chopin (similarly in bars 32 and 34). Originally – which can be clearly seen in GC – the quaver dyads and chords were always struck, independently from the top voice. Chopin deleted some of the notes then, while he sustained other ones with ties. The process was ended only with proofreading of FE – in this bar (described above) and in bar 32. Generally, Chopin – whenever it was possible – would avoid the notation with ties, trying to write the struck notes only (cf. bar 35, as well as, e.g., the Etude in A minor, No. 4 from bar 9 or the Etude in E major, Op. 10 No. 3, bars 30-31 and 34-35). Due to these reasons, in the main text we suggest the notation with crotchets, modelled after the Chopin one in bar 35. category imprint: Differences between sources; Editorial revisions; Corrections & alterations; Source & stylistic information issues: Accompaniment changes , Authentic corrections of FE , Authentic corrections in GC |
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b. 31
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composition: Op. 25 No 7, Etude in C♯ minor
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The range of slurs in GC is not clear here, what is more, in spite of the fact that the slur which begins in this bar is not linked with the previous one, its shape suggests that it was the writer's intention to link them. Due to this fact, in the main text we adopt the unambiguous, continuous slur of FE. category imprint: Graphic ambiguousness; Differences between sources |
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b. 32
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composition: Op. 25 No 7, Etude in C♯ minor
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Same as in bar 30, the version of FE, being a result of Chopin proofreading (introducing the dotted rhythm in the top voice and sustaining b1 already from the 5th quaver of the bar), is given by us in the main text in a modified form. The simplified rhythmic notation, in accordance with Chopin's habits concerning this issue, according to us, significantly increases the text's legibility. The missing ties sustaining the e1-g1 third in GC (→GE) are almost certainly the copyist's oversight. category imprint: Differences between sources; Editorial revisions; Corrections & alterations issues: Accompaniment changes , Authentic corrections of FE , Main-line changes , Errors of GC , Dotted or even rhythm |
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b. 33-35
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composition: Op. 25 No 7, Etude in C♯ minor
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The Chopin corrections visible in GC allow to state that the slurs of EE are the original version, left in the base text to this edition probably by inattention. In turn, the phrasing of FE, also being probably a result of Chopin corrections, may be considered as an alternative solution with respect to the main text. category imprint: Differences between sources issues: Authentic corrections in GC |
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