Issues : Errors of GC

b. 9-10

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

No slurs in GC (→GE1)

One-bar slur in FE

Two-bar slur in EE

Slurs in GE2 (→GE3)

Our suggestion

..

Both the absence of the slur in GC (→GE1) and the one-bar slur of FE have to be considered as an inaccuracy of notation. In turn, the slur of EE is most probably authentic and we adopt it as the base of the main text. However, we shift its beginning in such a way that it included also the grace note, as it can be seen in analogous situations in GC (bars 1 and 45) and FE (bar 45). It cannot be excluded that the copyist confused the staves and wrote the slur of the L.H., running from the beginning of the bar, over the R.H. A two-bar slur was added also in GE2 (→GE3), together with a conventional slur of the grace note.

category imprint: Differences between sources

issues: Inaccuracies in FE , GE revisions , Errors of GC

b. 15

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

..

In GC and FE there is no  lowering c to c. This patent inaccuracy was corrected in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , GE revisions , Omission of current key accidentals , Errors of 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

..

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. 45

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

Fingering on C-c in GC (→GE1)

Fingering on c-e1 in FE & EE2 (→EE3)

No fingering in EE1

Fingering & splitting hands in FED & FES

Staccato dots in GE2 (→GE3)

..

The fingering numerals, in GC (→GE1) misplaced under the grace notes, were arbitrarily changed in GE2 (→GE3) to the staccato wedges.

category imprint: Differences between sources

issues: GE revisions , Errors of GC

b. 60-62

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

Slurs in EE

Slurs in GC

Slurs in GE1

Slurs in GE2 (→GE3)

Slurs in FE

Our alternative suggestion

..

Among numerous versions of phrasing of the part of the L.H. only two versions of slurring – FE and EE – may be considered as authentic and complete. GC is compatible with EE, however, it lacks the slur in bar 61, which is undoubtedly an inaccuracy; the slurring was then recreated in GE1, with a minor change in bar 62. In GE2 (→GE3), the missing slur in bar 61 was added, by beginning the slur in bar 62 earlier, which is an arbitrary revision. In the main text we give the unquestionable version of EE, while as an alternative version we suggest the clearly different version of FE, in which we replace the slur in bar 62, perhaps inaccurate, with the slur present in GC and EE.

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

issues: Inaccuracies in GE , GE revisions , Errors of GC