mUltimate Chopin

Op. 25 No 1, Etude in A♭ major

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b. 24

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

d2 in AI, A (→GE), FE & EE

b1 in CDP
..

The version of CDP may be a common mistake, yet it can also prove that Chopin performed the visible in A correction of this note from b1 to d2 only after the copy had been prepared. The note was changed by Chopin also in AI, where d2 is added most probably in pencil (also on the last semiquaver in the bar).

category imprint: Differences between sources; Corrections & alterations

issues: Deletions in A

b. 24

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

No signs in AI, CDP & EE

  in A (→GE) & FE
..

The missing dynamic hairpins in EE is rather an oversight of the copyist or engraver, as the signs were written in A (→GE) and included in FE.

category imprint: Differences between sources

b. 24-25

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

cresc. – – in AI

 in A

 in CDP

 in FE & GE

 & cresc. in EE
..

None of the sources which were, directly or indirectly, based on A reproduce precisely the range of the  hairpins. In the main text, we faithfully adhere to the notation of A, in spite of the fact that beginning the crescendo only at the beginning of bar 25, where a new slur starts, may seem to be more natural. See also the note concerning cresc.

category imprint: Differences between sources

issues: Scope of dynamic hairpins

b. 24

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

 in AI, A (→CDP,GE) & EE

No markings in FE
..

The missing pedal change on the 4th beat of the bar must be considered an error of the engraver of FE or of the copyist who prepared the base text for this edition.

category imprint: Differences between sources

b. 25

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

A & a1 in AI, A (→CDP), FE & EE

A & a1 in GE1

A & a1 in GE2 (→GE3)
..

The flats lowering A and a1 to A and a1 in the last group of semiquavers were added in a proofreading of GE (it was not a routine revision, as, e.g., in bar 6, as both added signs differ in typeface from the others). The remaining sources have here A and a1. The question of authenticity of this change (as well as of the change introduced also in GE1 in bar 34) is one of the most difficult editorial problems in Chopin's pieces (see the characteristics of GE1). The version of GE, in which the combination with the next bar is smoother, thanks to a common note (a), and shows signs of Chopin improvement, hence we give it as the basic one (we change the note head of A – in accordance with the rule valid throughout the entire Etude – in the L.H. to a bigger one; it was already performed in GE2 and GE3). There arises a question, why did Chopin not introduce such a hearable change to FE? – at the moment of occurrence of this idea, the edition could have been already finished. In turn, lack of a relevant correction in pupil's copies, FED or FES, can be explained with the fact that after a few years from completing the piece, the original, well-sounding text did not generate opposition of the composer during the lessons. 

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

issues: Authentic corrections of GE