Issues : Annotations in teaching copies
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b. 13
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composition: Op. 25 No 7, Etude in C♯ minor
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The fingering of FES is written with the hand of the pupil, with ink, on the slightly visible, pencilled numerals written by Chopin (cf., bar 14). Chopin wrote the same indications in FED. The fingering added in EE2 (→EE3), in spite of being compatible with the Chopin one, is undoubtedly an addition of the reviser. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Annotations in FES |
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b. 14
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composition: Op. 25 No 7, Etude in C♯ minor
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The first two numerals were written in ink by the pupil, most probably in the place of pencilled Chopin numerals. The 'one' written with Chopin's hand is visible under the last note of this bar. category imprint: Differences between sources |
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b. 19-20
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composition: Op. 25 No 7, Etude in C♯ minor
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The fingering written in pencil by Chopin in FES. The last two numerals are written over them in ink by the pupil. category imprint: Differences between sources |
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b. 22
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composition: Op. 25 No 7, Etude in C♯ minor
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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 |
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b. 22-24
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composition: Op. 25 No 7, Etude in C♯ minor
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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 a category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Annotations in FES , Authentic post-publication changes and variants , Annotations in FEJ |
1 note in the last chord in the R.H. in bar 24, which is gauche from the piano and sound point of view.