mUltimate Chopin

Op. 25 No 1, Etude in A♭ major

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b. 21

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

No signs in AI & CDP

 in A

 in GE

  in FE

  in EE

  suggested by the editors
..

Although the  hairpins in A have arms of different length, it seems natural, however, to adopt that they begin only in the middle of the bar. Hence we consider the longer sign in GE to be inaccurate. In the main text we also include the  hairpins, probably added by Chopin in base texts to FE and EE.

category imprint: Graphic ambiguousness; Differences between sources

issues: Scope of dynamic hairpins , Unclear hairpins in A

b. 22

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

..

In the figures of the last beat of the bar, AI has a g(1) converted into a(1), while A, CDP and EE have a g(1). The different enharmonic notations are most probably related to the change of the sound of the 1st beat of the next bar – in both autographs one can see that, originally, it included a(1) notes instead of g(1) notes, hence it was based on the A minor chord. In AI Chopin changed bar 23 and he modified the notation of the previous figure respectively. In turn, in A, perhaps due to haste, the enharmonic notation of the end of bar 22 remained unchanged, resulting in the g(1) present in CDP, GE1 and EE. Chopin most probably wanted to eventually change g(1) to a(1) both in the proofreading of FE1 and in GE1a, yet it was not fully and faultlessly achieved in any of these editions:

  • in FE1, it was also sharps that were transferred together with the note heads, which resulted in a completely false version with a(1);
  • GE1a changed only the part of the R.H.

FE2 returns to g(1), which should be rather ascribed to the revisers, as they reinstated the version Chopin wanted to change. In turn, the change to a also in the part of the L.H. performed in GE2 (→GE3) seems to be simply a finishing of the proofreading ordered by Chopin in GE1a.

category imprint: Differences between sources; Corrections & alterations

issues: Errors in FE , Enharmonic corrections

b. 22-23

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

No markings in AI & CDP

  in A (→GE), FE & EE
..

The   differ in A (→GE), FE and EE in the range of particular signs, however, the differences are most probably of an accidental character and do not influence the meaning of these indications.

category imprint: Differences between sources

issues: Scope of dynamic hairpins

b. 22-23

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

a1-b1 & g1-b1 in AI, A (→GE), FE & EE

f1-a1 & f1-g1 in CDP
..

The version of CDP may prove Chopin's hesitation, as far as the sound of the figures in the R.H. on the 2nd beat of each of these bars is concerned. While AI includes the final version, written without any corrections, in A, next to the final version, one can see the deleted version of CDP (in bar 23 written and deleted twice!).

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations

b. 22

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

No markings in AI, A (→GE) & FE

 in EE
..

The additional pedal change in the middle of the bar is most probably a mistake of the engraver of EE or of the copyist preparing the base text for this edition.

category imprint: Differences between sources