mUltimate Chopin

Op. 25 No 7, Etude in C♯ minor

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 18-19

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

No indications in GC (→GE) & EE

ten. in FE
..

The authenticity of the ten. indications does not raise any doubts here. Chopin added them in the proofreading of FE or – which is more likely – still in the handwritten base text to this edition. The second possibility is backed by the presence of such indications in analogous bar 43 and similar bars 60-61, also in other sources – in bar 43 in GC, while in bars 60-61 in EE. Chopin could have added them subsequently in various manuscripts, however, he did not pay attention to synchronising the additions. 

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

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. 25-26

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

No sign in GC (→GE) & EE

 in FE
..

The  hairpins, present only in FE, were added by Chopin probably at the time of proofreading this edition.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 27

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

in GC (→GE) & EE

in FE
..

 present in GC (→GE) and EE is the original version, corrected by Chopin in FE to .

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 30

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

No d2 in GC (→GE) & EE

d2 in FE

d2 in simplified rhythmic notation
..

The version of FE with an additional, sustained d2 (as in analogous bar 34) is probably a result of Chopin's proofreading – a fragment of the stem reaching this note is slightly tilted, which indicates its later addition. When using the authentic pedalling, it has only an ideational meaning. We take this version as the basis of the main text, in which we, however, modify the way of notation after the one Chopin used in bar 35.

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