mUltimate Chopin

Op. 25 No 7, Etude in C♯ minor

Text Compare Notes Sources Description

Issues : Accompaniment changes

b. 4

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

Double-dotted rhythm in GC (→GE) & EE

Single-dotted rhythm in FE
..

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. 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. 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. 30

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

No d2 in GC (→GE) & EE

d2 in FE

d2 in simplified rhythmic notation
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The version of FE with an additional, sustained d2 (as in analogous bar 34) is probably a result of Chopin's proofreading – a fragment of the stem reaching this note is slightly tilted, which indicates its later addition. When using the authentic pedalling, it has only an ideational meaning. We take this version as the basis of the main text, in which we, however, modify the way of notation after the one Chopin used in bar 35.

The notation of the sources is a result of changes in the rhythmic structure of the accompanying part, introduced by Chopin (similarly in bars 32 and 34). Originally – which can be clearly seen in GC – the quaver dyads and chords were always struck, independently from the top voice. Chopin deleted some of the notes then, while he sustained other ones with ties. The process was ended only with proofreading of FE – in this bar (described above) and in bar 32. Generally, Chopin – whenever it was possible – would avoid the notation with ties, trying to write the struck notes only (cf. bar 35, as well as, e.g., the Etude in A minor, No. 4 from bar 9 or the Etude in E major, Op. 10 No. 3, bars 30-31 and 34-35). Due to these reasons, in the main text we suggest the notation with crotchets, modelled after the Chopin one in bar 35.

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

issues: Accompaniment changes , Authentic corrections of FE , 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
..

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