Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
(Op. 4), Sonata in C minor
Compositions
0
Op. 25 No 7, Etude in C♯ minor
Sources
- Gutmann's Copy
- French edition
- First French edition
- Corrected reprint of FE1
- Dubois copy
- Jędrzejewicz copy
- Stirling copy
- German edition
- First German edition
- Another copy of #GE1
- Second German edition
- Revised impression of GE2
- English edition
- First English edition
- Corrected reprint of EE1
- Revised impression of EE2
FES - Stirling copy
| Publisher: | Henry Lemoine |
| Date: | VI 1845 |
| Title: | Etudes || 7me Étude |
| Dedication: | Madame la Comtesse d'Agoult |
A copy of FE3 from the collection of Chopin's works belonging to his pupil Jane Stirling. At the top of the 1st page of the note text, there is a date written by Chopin – 7 Juin 1845 [7 June 1845]. FES includes numerous additions, proving a thorough development of this Etude with Chopin:
- detailed fingering, starting already from the introduction, ending in bar 64. The majority of the fingering numerals written in pencil by Chopin were then overwritten in ink by the pupil, most probably in order to enhance the legibility and consolidate the composer's notes.
-
indications of dynamic character, e.g., accents in bars 1 and 58 or
in bar 62; - pedalling in bars 1-3 and 5;
- other performance indications, e.g., fermatas in the introduction, connection of the slurs between the introduction and bar 1;
- deletions and variants facilitating the performance in bars 22, 24 and 52-53.
| Original in: | Bibliothèque Nationale de France, Paris |
| Shelf-mark: | Rés. Vma 241 (III,25) |