mUltimate Chopin

Op. 25 No 7, Etude in C♯ minor

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 32

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

Even quavers, no ties in GC (→GE)

Even quavers, ties in EE

Dotted rhythm, ties in FE

FE in simplified rhythmic notation
..

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

b. 38-39

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

g1 in GC (→GE) & EE1

g1 in FE & EE2 (→EE3)
..

The version of FE – the E minor chord twice – could have been introduced in the proofreading of FE and was accepted by Chopin during the lessons, which is proved by Chopin entries in FES and FED, performed in the direct neighbourhood of this place. We adopt it to the main text as the undoubtedly authentic and possibly the latest version. Its appearance in EE2 (→EE3) indicates the use of an FE copy while editing this impression (cf. the Etude in G minor, No. 6, bar 4). In this situation, the version of GC (→GE) and EE1 with the E major chord, appearing twice, seems to be either earlier or even erroneous (this kind of oversight of accidentals defining a minor key may be suspected in the Etude in F minor, Dbop. 36 No. 1, bars 41-45).

It is one of these places in which the later editorial and performance practice consolidated the non-authentic compilation of source editions with g1 in bar 38 and g1 in bar 39. 

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE

b. 42-43

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

One ten. in GC (→GE) & EE3

Two ten. in FE

No indications in EE2 (→EE3)
..

The ten. indication in bar 43 – present both in FE and GC (→GE) – was most probably already in the manuscripts. In turn, the one in bar 42 was most probably added by Chopin in the proofreading of FE, which is indicated by the bigger font in comparison with the remaining ones (in bars 18-19 and 43). The appearance of one ten. in EE3 proves the access of the reviser to GE1.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Authentic corrections of FE

b. 44

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

 in GC (→GE) & EE

 in FE
..

 in GC (→GE) and EE is the original version, changed by Chopin in the proofreading of FE, in which the indication was deleted, while  hairpins were added.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 50

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

Grace note in GC

Grace note in FE

Slashed grace note in GE & EE3

No grace note in EE1 (→EE2)
..

The F1 grace note in GC was added in pencil, which means that Chopin added it in the last phase of preparations of base texts for three editions of Opus 25 (the main goal of these additions was probably the fact of introducing metronome tempos, which are in the form of pencil additions in the manuscripts of 11 etudes). The missing quaver flag in FE is most probably an inaccuracy resulting from haste at the time of performing numerous Chopin corrections. In turn, the notation with the slashed quaver is certainly a result of routine revision of GE (the notation undoubtedly corresponds to the correct performance of this ornament, as only a few Chopin slashed grace notes are to be interpreted as appoggiaturas).

category imprint: Differences between sources; Corrections & alterations

issues: Inaccuracies in FE , Accompaniment changes , Authentic corrections of FE , Authentic corrections in GC