b. 18
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composition: Op. 25 No 1, Etude in A♭ major
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The version of AI, closely analogous to bar 20, is undoubtedly original. In A one can see traces of rearranging this version to the final text. category imprint: Differences between sources; Corrections & alterations issues: Deletions in A |
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b. 19-28
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composition: Op. 25 No 1, Etude in A♭ major
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In these bars Chopin still uses abbreviated notation of the repeating figures (cf. bars 1-8 and 9-18) in all three manuscripts – AI, A and CDP. The number of repetition signs, which in this fragment have already the "Chopin" // form (see also bars 26-27), is still the highest in CDP. In bar 19, we consider the notation of A to be inaccurate – see the note to this bar. category imprint: Differences between sources issues: Abbreviated notation of A |
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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
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composition: Op. 25 No 1, Etude in A♭ major
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Chopin added the fingering numeral in FED. category imprint: Differences between sources |
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b. 19
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composition: Op. 25 No 1, Etude in A♭ major
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The long accent in AI is the original version – in A and the editions, there is a pair of dynamic hairpins. According to us, the differences in range do not have any significant meaning, therefore, in the main text we give the signs of FE, which seems to have the most accurate markings in these few bars (from bar 17). category imprint: Differences between sources; Corrections & alterations issues: Inaccuracies in GE , GE revisions |