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Op. 25 No 7, Etude in C♯ minor

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b. 52

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

..

Taking into account the highly predictable structure of the chromatic scale, we do not include cautionary accidentals in it. FE includes a  before F, while GC (→GE1) also before f. Each of these versions of notation can be authentic. In turn, seven cautionary signs in EE (F, A, B, c, f, a, c1) and nine in GE2 (→GE3) – featuring also e and b – are certainly a result of editorial interventions. 

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions , Cautionary accidentals , FE revisions

b. 52

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

g in GC (→GE) & EE

No g in FE

Alternative variant suggestion
..

There is no reason to doubt the authenticity of any of these versions, however, it turns out to be very difficult to state how the difference occurred and, as a consequence, which version is to be considered as final. The version of FE, same as in analogous bar 8, seems to be earlier, on the other hand, the version of GC was written entirely by the copyist, hence it was probably in [A], which leads to the conclusion that g could have been deleted in the proofreading of FE. Taking into account the above – and other – doubts, as well as the fact that both versions sound well, in the main text we adopt the version of the base source, i.e. GC. We suggest the variant version, with g in brackets, as an alternative solution.

category imprint: Differences between sources; Corrections & alterations

b. 52-53

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

No grace note in GC (→GE), FE & EE

Grace note in FES
..

In FES, in the middle part of the chromatic run, there is a zigzag, which may indicate a deletion of a part or entire run, while at the beginning of bar 53 there is an added e grace note (same as in bar 1). One can suppose that it is about a kind of simplification of the virtuoso passage (same as in bars 22 and 24), yet in this case the text, with which it is supposed to be replaced, was not written, nor marked in a legible way. Perhaps Chopin meant to repeat the relevant fragment in bar 8, then the grace note in bar 53 would have certainly been written with a mistake (e instead of c). In face of such an unclear situation, we give the printed text as the version of FES, completed with the literally interpreted grace note. In the main text, we do not consider these entries in any form.

category imprint: Differences between sources

issues: Annotations in teaching copies , Terzverschreibung error , Annotations in FES

b. 66

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

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.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE