mUltimate Chopin

Op. 25 No 7, Etude in C♯ minor

Text Compare Notes Sources Description

Issues : Dotted or even rhythm

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
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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. 12

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

Demisemiquaver in GC (→GE)

Semiquaver in FE & EE
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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. 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