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b. 1-2

composition: Op. 25 No 1, Etude in A♭ major

Long accent in AI

  in A (→GE1→GE1a)

  in FE

  in EE

  in GE2 (→GE3)
..

The long accent under f2 at the beginning of bar 2 in #AW is the original concept of dynamic markings in these bars. In A one can see that Chopin rejected the accent (placed above this note) in favour of a pair of   hairpins. The hairpins were incorrectly reproduced in GE1 (→GE1a), yet only the fact of beginning diminuendo in GE2 (→GE3) from the beginning of bar 2 may be considered as a quite significant change. In FE and EE, diminuendo immediately follows crescendo. In the main text we reproduce the signs of A, the only ones written undoubtedly by Chopin's hand.

category imprint: Differences between sources; Corrections & alterations

issues: Long accents , Inaccuracies in GE , GE revisions , Deletions in A

b. 1-8

composition: Op. 25 No 1, Etude in A♭ major

..

In the entire Etude, in all manuscripts some of the repeating figures were written in an abbreviated manner using the // or •/• signs. CDP includes the highest number of such abbreviations, while A – the lowest (they appear only in bar 12, they are absent in bars 1-8). In CDP the abbreviated notation of the part of the L.H. in bars 1-2 is not clear – already the second figure in bar 1 is written as repetition of the first. If interpreted literally, it would mean that the bass note in these bars is eight times A1, which, from the piano interpretation point of view, is inacceptable.

category imprint: Differences between sources

b. 1

composition: Op. 25 No 1, Etude in A♭ major

Fingering in FED

No teaching fingering
..

In the main text we give the fingering written by Chopin in FED. Similarly in bars 3 and 7-8.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 1-3

composition: Op. 25 No 1, Etude in A♭ major

No fingering in AI, CDP, A (→GE), FE & EE1

Fingering in EE2 (→EE3)
..

The fingering added in EE2 (→EE3) in bars 1 and 3 is certainly an addition of the revision. Therefore, despite its obvious accuracy, we give it in smaller, italicised font.

category imprint: Differences between sources

issues: EE revisions

b. 1

composition: Op. 25 No 1, Etude in A♭ major

A in AI

A1 in A (→CDP,GE), FE & EE
..

A greater schematic approach is generally characteristic for original versions, in this case AI. Lowering some bass notes or doubling them during the works on a piece is characteristic for Chopin – cf., e.g., the Etude in D major, No. 8, bars 25-26, Etude in D major, Dbop. 36 No. 3, bars 55-59, Waltz in A major, Op. 42, bar 31 and 273, Polonaise in E minor, Op. 26 No. 2, bars 103-104. 

See also the note to bar 36.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes