mUltimate Chopin

Op. 25 No 1, Etude in A♭ major

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b. 40

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

A1 in AI

A in A (→CDP,GE), FE & EE
..

In AI, Chopin introduced A first, same as in the final version, then he changed it to A1. While preparing the Etude for print, he, however, returned to the original concept, choosing eventually A.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Deletions in A

b. 48

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

a2-e3-a3 in AI, FE & EE

a2-a3 in A (→CDP,GE)
..

Both versions are certainly authentic, yet their chronology raises some doubts. The version with e3 was probably created earlier, as in AI it is already written with ink. Therefore, the octave in A is to be considered as one of these Chopin improvements that appeared in A with no traces of changing the version of AI (cf., e.g., bars 1, 7, 8). However, if – which seems to be likely – the base texts for FE and EE were copies of A, one should assume that Chopin added an e3 in them, thus returning to the original concept. However, not being entirely certain in this respect, in the main text we preserve the lighter version of A (→GE).  

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations

b. 48-49

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

AI

A (→CDP,GE), FE & EE
..

Interpretation of the written in pencil ending of the Etude is impeded in AI by limited resolution of the preserved photography. Originally, the piece ends in bar 48: . Chopin then added in pencil an additional bar, yet interpretation of the details of the part of the L.H., which seems to be edited differently than in A and editions, is not entirely certain.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Changed phrase length