mUltimate Chopin

Op. 25 No 7, Etude in C♯ minor

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Articulation, Accents, Hairpins
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Articulation, Accents, Hairpins

b. 1

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

No mark in GC (→GE), FE & EE

Accent in FES

Our suggestion
..

In FES the long accent is written under the stave, however, it cannot concern any other note than the e1 minim. The lines of unclear meaning visible in this copy may underline its connection to this note and the significance of its clear performance for the expression of the phrase. In the main text we suggest this lesson's note, perhaps related to the extension of the slur, in brackets.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 1

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

 in GC (→GE)

 in FE & EE
..

It is hard to evaluate how the difference in the range of  hairpins was created. It is not certain whether the sign in GC (→GE) was rewritten by the copyist or added by Chopin – it differs both from the signs written certainly by Gutmann (e.g., in bar 22) and the signs certainly added by the composer (e.g., in bar 24 and 45-46). Taking into account the fact that Chopin could have extended the hairpins in the remaining manuscripts, as well as a possibility of an erroneous interpretation of the notation of GC – 6th and 7th note (a and g), as falling after diminuendo, one could consider them as the most silent – in the main text we give the version of FE and EE. 

category imprint: Differences between sources

issues: Scope of dynamic hairpins

b. 4

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

No mark in GC (→GE) & EE

Long accent in FE
..

The exclusive presence of the accent in FE suggests that it was added by Chopin in the proofreading of this edition (or still in the handwritten base text). The length of the accent is indicated by its placement to the right from the note. Similarly in bar 8, where the sign is not only moved, but also longer.

category imprint: Differences between sources; Corrections & alterations

issues: Long accents , Authentic corrections of FE

b. 8

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

No mark in GC (→GE) & EE

Long accent in FE
..

category imprint: Differences between sources; Corrections & alterations

issues: Long accents , Authentic corrections of FE

b. 23

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

 in GC (→GE) & EE3

 in FE

No sign in EE1 (→EE2)
..

In the main text we give the unambiguous  hairpins written in GC (→GE). The  sign in FE may be a result of a frequently encountered print error consisting in inserting the mirror-image of the intended sign (cf., e.g., the Etude in C minor, Op. 10 No. 12, bar 53). The absence of the sign in EE1 (→EE2) is most probably a result of inattention, while its addition in EE3 – a revision based on GE.

category imprint: Differences between sources

issues: Errors in FE , Sign reversal