mUltimate Chopin

Op. 25 No 7, Etude in C♯ minor

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Page: 
Source: 
p. 1, b. 1-16
p. 1, b. 1-16
p. 2, b. 17-28
p. 3, b. 29-49
p. 4, b. 50-68
Main text
Main text
GC - Gutmann's Copy
FE - French edition
FE1 - First French edition
FE2 - Corrected reprint of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Another copy of #GE1
GE2 - Second German edition
GE3 - Revised impression of GE2
EE - English edition
EE1 - First English edition
EE2 - Corrected reprint of EE1
EE3 - Revised impression of EE2
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No differences
GC - Gutmann's Copy
FE - French edition
FE1 - First French edition
FE2 - Corrected reprint of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Another copy of #GE1
GE2 - Second German edition
GE3 - Revised impression of GE2
EE - English edition
EE1 - First English edition
EE2 - Corrected reprint of EE1
EE3 - Revised impression of EE2
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  b. 1

No markings in GC (→GE), FE & EE

Pauses in FES

The fermatas added in FES are most probably a lesson note, being an attempt to shape the correct proportions in the rhythmically free performance of the initial phrase of the Etude. The signs, together with the fingering coming from this copy, prove that Chopin did not feel the need to correct the probably erroneous rhythm of the 4th and 5th note.

Compare the passage in the sources»

category imprint: Differences between sources

issues: Annotations in teaching copies, Annotations in FES

notation: Rhythm

Missing markers on sources: GC, GE1, EE3, EE1, EE2, GE2, GE3, FE1, FE2, FED, FEJ, FES, GE1a
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