Main text
Main text
A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
EE - English edition
EE3 - Corrected impression of [EE2]
EE4 - Revised impression of EE3
compare
  b. 51-63

 in A

FE (→GE,EE

Our suggestion

In A the motifs in the R.H. in the 2nd halves of bars 51-53 and 60-63 are provided with  hairpins of varied range. According to us, it should be related to the clearly less diligent notation of this page in A (cf., e.g., the remark on accidentals). In similar situations in the first section of the Etude (bars 10-13 and 20-23) the hairpins always (eight times) embrace entire motifs. This is how the marks were generally reproduced in the editions, except for bar 52 (the mark starts later, in accordance with A) and separately discussed bars 53 (reversed mark) and 62 (omission). In the main text we suggest a unified version of the hairpins, compatible with the natural, and in this case rather obvious, musical sense.  

Compare the passage in the sources »

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in FE, Scope of dynamic hairpins

notation: Articulation, Accents, Hairpins

Go to the music

.