Issues : Main-line changes

b. 8

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

Dotted rhythm in GC (→GE) & EE

Even semiquavers in FE

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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

b. 26

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

14 notes in GC (→GE)

13 notes in FE & EE1

13 notes in EE2 (→EE3) with fingering 

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In GC (→GE) Chopin wrote here a g note between f and a, increasing the number of the 1st group of demisemiquavers from 13 to 14. We give this version in the main text, being an expression of the latest proved decision of Chopin. However, the question whether it can be considered as the only final version of this run remains open. Chopin did not introduce it neither in the remaining two Stichvorlage manuscripts, nor in the proofreading of FE; it also cannot be found in any of the pupil's copies. Hence, the original thirteen-note version was accepted by him also after having introduced the correction in GC

The fingering of EE2 (→EE3) – see the adjacent note.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes , Authentic corrections in GC

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

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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. 47

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

Probable mordent in GC

No mark in FE, GE & EE

Our variant suggestion

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The  sign, visible in GC, yet absent in the remaining sources, could have been added by Chopin as one of the elements varying the return of this theme (the other ones are the F1 grace note in bar 50 and, above all, the chromatic scale in bar 52). However, its absence in GE is puzzling, as it seems to be highly unlikely for it to be unnoticed by both the engraver of GE1 and editors preparing GE2. According to us, the sign was considered to be a deletion of the end of the extended (combined) slur. A few such deletions are indeed in GC – in bars 20, 26, 38, 39, 56 and 65 – however, all of them are clearly longer (shorter fragments, e.g., in bars 6-7 remained non-deleted). Taking into account the missing sign in FE and EE and possible doubts concerning its content, in the main text we suggest a mordent in a variant form, in brackets.   

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Main-line changes , Authentic corrections in GC