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Op. 25 No 7, Etude in C♯ minor

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b. 1

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

Normal size notes in GC (→GE) & EE

Small notes in FE
..

It is not certain whether Chopin imagined a barless introduction written with notes of normal size or with small ones. According to us, it is more likely that Gutmann did not recognise small notes in the notation of [A] and a similar mistake committed in the base text to EE or by the engraver of this edition (cf. the Prelude in C minor, Op. 45, bar 79) than an arbitrary change of regular notation to small notes in FE. Other scenarios explaining the origin of this difference are also possible, yet the notation with small notes, used more often in this type of time signature free fragments, generally seems to be more likely here.

category imprint: Differences between sources

b. 1

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

Quavers in GC (→GE) & EE

Crotchets in FE
..

In the main text we suggest quavers, as their authenticity is beyond any doubt. In turn, the crotchets in FE may be a result of the engraver's inattention – the spaces between the c-B and B-a notes correspond to the previous space c-c (quaver) and not G-d (crotchet), which probably means that the engraver planned the notes, seeing quavers in the base text, however, then he omitted this place while adding the beams. On the other hand, one cannot completely exclude Chopin's proofreading in FE – he may have accepted crotchets during the lessons, as an appropriate correction was not written in any of the three pupil's copies (two of them – FED and FES – bear clear traces of a detailed development of the Etude with Chopin, while in FES the first added fingering concerns exactly these two notes). 

category imprint: Differences between sources

issues: Errors in FE

b. 1

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

No markings in GC (→GE), FE & EE

Pauses in FES
..

The fermatas added in FES are most probably a lesson note, being an attempt to shape the correct proportions in the rhythmically free performance of the initial phrase of the Etude. The signs, together with the fingering coming from this copy, prove that Chopin did not feel the need to correct the probably erroneous rhythm of the 4th and 5th note.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 4

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

Double-dotted rhythm in GC (→GE) & EE

Single-dotted rhythm in FE
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One cannot see traces of performing changes in the rhythm of the top voice in the preserved sources. Moreover, it does not seem that one of the versions could have been erroneous; it is particularly excluded in the case of the rhythm of GC (→GE) and EE, confirmed by the compatible version of all sources in analogous bar 48. Therefore, it seems that the original single dotted rhythm, preserved in FE, was changed by Chopin into the double dotted rhythm in the base text to EE, from where it was copied to GC.

category imprint: Differences between sources

issues: Accompaniment changes , Dotted or even rhythm

b. 8

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

Dotted rhythm in GC (→GE) & EE

Even semiquavers in FE
..

The authenticity of the dotted rhythm in GC (→GE) and EE does not raise any doubts. The equal semiquavers of FE may be considered as a result of inattention of the engraver or misunderstanding of the handwritten base text, yet the version can be also a result of Chopin's correction, introduced still in the manuscript or proofreading of FE. As one of the traces of possible changes performed in print, one can consider the too long slur, adjusted to the note being closer to the bar line than the visible g semiquaver.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Main-line changes , Dotted or even rhythm