mUltimate Chopin

Op. 25 No 1, Etude in A♭ major

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 26

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

 in AI

No accidental in A (→CDP,GE), FE & EE
..

The cautionary  before a, written only in AI, is undoubtedly recommendable when choosing the version with A and a1 in the previous bar.

category imprint: Differences between sources

issues: Cautionary accidentals

b. 26-27

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

No signs in AI & A (→CDP,GE)

 in FE

  in EE

  suggested by the editors
..

The dynamic hairpins of FE and EE were most probably added by Chopin still in the copies, being base texts for these editions. Thus it is difficult to state whether it is EE with a pair of signs that is later or FE with  only. In the main text we generally adopt the indications of EE, as being the most complete; we modify only the range of the first  sign (in bar 26) on the basis of FE, considering the interpretation of the manuscript by the engraver to be probably inaccurate (cf. even shorter, compatible signs of FE and EE in bar 27).

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Authentic corrections of EE

b. 26

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

Large noteheads in AI

Big & small notehead in A (→GE1)

Small noteheads in FE, EE & GE2 (→GE3)
..

The deletions of the 1st note on the 2nd and 4th beats of the bar, visible in A, suggest that Chopin hesitated whether to write these notes as big or small. The result of these corrections is not entirely clear (particularly on the 2nd beat); however, it seems to be more plausible that it concerned the transition to small notes, as it is in FE and EE.

category imprint: Corrections & alterations; Source & stylistic information

issues: Chopin's hesitations , Deletions in A

b. 26

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

..

The two visible in CDP slurs in the L.H., each embracing 6 notes, are almost certainly an addition of the copyist, who marked the original grouping of semiquavers in this way. It was necessary, as the two authentic ties, indicating the correct grouping, were replaced in CDP with one, which enabled writing the 2nd half of the bar as repetition of the first. Therefore, we consider these slurs as a part of an abbreviated notation in this bar. The copyist used a similar measure in bars 42-43.

category imprint: Interpretations within context; Differences between sources

b. 27-28

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

Big noteheads in AI

Small noteheads in A (→CDP,GE), FE & EE
..

In AI, same as in the previous bar, it is also the semiquavers on the 2nd and 4th beats of the bar that are singled out with a big note head. In A it is clearly visible that Chopin renounced such a frequent accentuation of bass notes.

category imprint: Differences between sources; Corrections & alterations