Issues : Authentic corrections of GE
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b. 17-18
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composition: Op. 25 No 1, Etude in A♭ major
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The differing abbreviated notation of AI and A could suggest that in the latter all four E notes are supposed to have normal ("big") note heads. According to us, the notation of A, despite being simplified, is to be, however, interpreted in accordance with AI – in A we see the same abbreviation also in bar 36, in which the distinction of only the first A In GE1 (→GE1a), the first F in bar 18 is written as a small note. The mistake was corrected in GE2 (→GE3). category imprint: Interpretations within context; Differences between sources |
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b. 17
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composition: Op. 21, Concerto in F minor, Mvt II
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In this case, it is hard to state how the discrepancies between the slurring of A and GE1 (→FE→EE) occurred. Although one cannot see traces of a possible Chopin proofreading in print, it does not mean such a possibility is definitely excluded. On the other hand, an arbitrary change of the engraver, whose result is compatible with Chopin slurring of the repetition of this phrase in the ending (bars 85-86), seems to be highly unlikely. Therefore, both versions may be considered equal; to the main text we adopt the one whose authenticity remains beyond any doubt, i.e. A (and GE2). category imprint: Differences between sources issues: GE revisions , Authentic corrections of GE |
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b. 19
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composition: Op. 25 No 1, Etude in A♭ major
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The difference between the abbreviated notations of AI (repetition signs for 2 last figures) and A (signs for all 3 last figures) could suggest that in the latter all four G notes are supposed to have normal ("big") note heads. According to us, the notation of A is to be interpreted as a simplified version of the notation of AI, which is also confirmed by FE and EE. category imprint: Interpretations within context; Differences between sources issues: Authentic corrections of GE , Inaccuracies in A |
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b. 19-20
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composition: Op. 25 No 1, Etude in A♭ major
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In the main text we give the version of A, confirmed by FE and most probably by Chopin proofreading of GE1a (→GE2→GE3). The notation of GE1 is erroneous, while AI and EE1 include the original concept of separating the tenor voice only in the part creating a descending melodic line. The versions of CDP and EE2 (→EE3) are certainly non-authentic. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of GE |
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b. 21
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composition: Op. 25 No 1, Etude in A♭ major
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The version of the 1st half of the bar, written in AI, A (→CDP,GE1) and EE is undoubtedly earlier. Chopin introduced the final version in proofreadings of FE and GE1a (→GE2), probably in order to avoid parallel octaves at the transition from the previous bar (cf. the commentary to the Etude in A minor, Op. 25 No. 4, bar 60). GE3 arbitrarily reinstates the version of A. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Authentic corrections of GE |
is beyond any doubt. Similarly in bar 19.
