mUltimate Chopin

Op. 25 No 7, Etude in C♯ minor

Text Compare Notes Sources Description

Issues : Authentic corrections in GC

b. 7

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

Literal reading of slurs in GC (→GE1)

Possible interpretation of slurs in GC, and slur in FE & GE2 (→GE3)

Slurs in EE
..

The slurring of EE is the original state, corrected by Chopin at the stage of manuscripts only in GC. The accurate sense of this correction is not clear (GE1 interpreted the slurs literally as non-connected), yet Chopin proofreading of FE dissipates the doubts concerning the composer's intention. Cf. analogous bars 50-51.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Authentic corrections in GC

b. 12

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

Demisemiquaver in GC (→GE)

Semiquaver in FE & EE
..

It is unclear how the difference in the rhythm in this place was created, however, none of these two versions seems to be erroneous. The notation of EE indicates a possibility of the engraver's error – the b1 semiquaver is placed closer to the bar line than the g semiquaver, therefore, it is possible that in the base text to EE the rhythm was the same as in GC. It also cannot be excluded that the additional dot and beam were added in GC by Chopin, although the graphical image of the notation rather does not confirm it. Due to the above ambiguities, in the main text we give the double dotted rhythm, present in the base source (GC).

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections in GC , Dotted or even rhythm

b. 25

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

Four b1 in GC (→GE) & EE3

No b1 in FE & EE1 (→EE2)
..

For the last four quavers of the bottom voice we adopt the version of FE and EE1 (→EE2), as being probably the latest. An accurate analysis of the sources reveals traces of double change of Chopin's decision:

  • the original version without b1 (EE1),
  • b1 added by Chopin in GC,
  • b1 removed by Chopin in the proofreading of FE.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Accompaniment changes , Authentic corrections of FE , Authentic corrections in GC

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 
..

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. 28

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

One pedal in GC (→GE) & EE3

Two pedals in FE

 in EE1 (→EE2)
..

Chopin may have added the pedalling of this bar in all Stichvorlage manuscripts (certainly in GC, in which Chopin's hand is easily recognisable). However, he did not coordinate his entries – hence the differences between the sources. In the main text we give the most accurate indications of FE.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , EE inaccuracies , Authentic corrections in GC