mUltimate Chopin

Op. 25 No 7, Etude in C♯ minor

Text Compare Notes Sources Description

Issues : EE revisions

b. 19

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

in GC (→GE), FE & EE3

No marking in EE1 (→EE2)
..

The absence of  in both first impressions of EE suggests that it was also absent in the base text to this edition. The addition in EE3 was introduced – as many others in the entire Op. 25 – probably on the basis of GE.

category imprint: Differences between sources

issues: EE revisions

b. 21

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

No fingering in GC (→GE), FE & EE1

Fingering in EE2 (→EE3)
..

The fingering of EE2 (→EE3) is certainly non-authentic.

category imprint: Differences between sources

issues: EE revisions

b. 22

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

Fingering written into FED

Fingering written into FES

No teaching fingering

Fingering in EE2 (→EE3)
..

In the main text we give the fingering written with Chopin's hand in FED. The digits added in FES undoubtedly define the same fingering. The fingering of EE2 (→EE3), in the initial phase different from the Chopin one, although equally justified from the pianistic point of view, is certainly non-authentic.

category imprint: Differences between sources

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

b. 24

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

Fingering written into FED

Fingering written into FES

Chopin's fingering jointly

No teaching fingering

Fingering in EE2 (→EE3)
..

The first two numerals written in FED are compatible with the entry in FES, which allows for considering the '5' visible in the second copy as an addition to the fingering of FED. In this version we give this fingering – analogous with the Chopin fingering in bar 22 – in the main text. As far as the continuation of the fingering of FES is concerned, the numerals concerning  g and a are probably erroneous, while the last four, written under the semiquaver beam, defining the shortened version of this passage, concern exactly this simplified version – see the note to bars 22-24. The fingering of EE2 (→EE3), in spite of being more comfortable, is, however, certainly non-authentic.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , EE revisions , Annotations in FED , Differences in fingering , Annotations in FES

b. 24

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

Fingering in FED

No teaching fingering

Fingering in EE2 (→EE3)
..

In FED, playing the g1-a1 second with the 1st finger was marked by Chopin in the way adopted by us in the main text. The same indication in FES has a form of only one big 'one', referring to both notes. 
The reviser of EE2 (→EE3) also marked the performance of this chord in this way.

category imprint: Differences between sources

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