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Op. 25 No 7, Etude in C♯ minor

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b. 22-24

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

Simplified version in FEJ (contextual interpretation)

Simplification with fingering in FES (interpretation)

No teaching simplifications
..

In FES and FEJ the runs of the L.H. were reduced to four last notes, which were entrusted with the value of a semiquaver. It is undoubtedly a facilitation aiming at possibilitating an amateur performance of the Etude to the technically less advanced pianists. As in both places FES includes Chopin fingering, concerning the original, full version of these passages, we consider the introduced facilitations as the ossia più facile versions and we include them in the form of variants of the basic text of these sources.

The notation of FEJ is of a more draft nature, transferring only the general idea of this facilitation. It is probably the reason of leaving the a1 note in the last chord in the R.H. in bar 24, which is gauche from the piano and sound point of view.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FES , Authentic post-publication changes and variants , Annotations in FEJ

b. 24

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

..

In FE there are no accidentals before the 7th and 8th demisemiquavers. This frequent inaccuracy in Chopin notation was most probably repeated after the manuscript. Chopin partially corrected his mistake in GC and FED, adding a  raising g to g. EE and GE include the correct notation.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FED , Accidentals in different octaves , GE revisions , Inaccuracies in GC

b. 25

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

Four b1 in GC (→GE) & EE3

No b1 in FE & EE1 (→EE2)
..

For the last four quavers of the bottom voice we adopt the version of FE and EE1 (→EE2), as being probably the latest. An accurate analysis of the sources reveals traces of double change of Chopin's decision:

  • the original version without b1 (EE1),
  • b1 added by Chopin in GC,
  • b1 removed by Chopin in the proofreading of FE.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Accompaniment changes , Authentic corrections of FE , Authentic corrections in GC

b. 26

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

14 notes in GC (→GE)

13 notes in FE & EE1

13 notes in EE2 (→EE3) with fingering 
..

In GC (→GE) Chopin wrote here a g note between f and a, increasing the number of the 1st group of demisemiquavers from 13 to 14. We give this version in the main text, being an expression of the latest proved decision of Chopin. However, the question whether it can be considered as the only final version of this run remains open. Chopin did not introduce it neither in the remaining two Stichvorlage manuscripts, nor in the proofreading of FE; it also cannot be found in any of the pupil's copies. Hence, the original thirteen-note version was accepted by him also after having introduced the correction in GC. 

The fingering of EE2 (→EE3) – see the adjacent note.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes , Authentic corrections in GC

b. 26

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

..

As the 2nd note of the last sextuplet GE1 includes the erroneous D instead of E. The mistake was corrected in GE2 (→GE3).

category imprint: Differences between sources

issues: Errors in GE , GE revisions