mUltimate Chopin

Op. 25 No 7, Etude in C♯ minor

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Page: 
Source: 
p. 4, b. 50-68
p. 1, b. 1-16
p. 2, b. 17-28
p. 3, b. 29-49
p. 4, b. 50-68
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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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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. 66

e1 in GC (→GE) & EE

No e1 in FE

The traces visible in FE prove that e1 was removed from the 1st quaver of the bar at the time of proofreading. There are no doubts that this kind of change could have been introduced only by Chopin. Thanks to this change the effect of withering echo – bars 65 and 66 are a simplified harmonic repetition of bar 64 – becomes clearer.

Compare the passage in the sources»

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes, Authentic corrections of FE

notation: Pitch

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