mUltimate Chopin

Op. 25 No 1, Etude in A♭ major

Text Compare Notes Sources Description

Issues : Authentic corrections of GE

b. 17-18

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

..

The differing abbreviated notation of AI and A could suggest that in the latter all four E notes are supposed to have normal ("big") note heads. According to us, the notation of A, despite being simplified, is to be, however, interpreted in accordance with AI – in A we see the same abbreviation also in bar 36, in which the distinction of only the first A is beyond any doubt. Similarly in bar 19.

In GE1 (→GE1a), the first F in bar 18 is written as a small note. The mistake was corrected in GE2 (→GE3).

category imprint: Interpretations within context; Differences between sources

issues: Inaccurate slurs in A , Authentic corrections of GE

b. 19

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

..

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.
In GE1 (→GE1a), the G note on the 2nd beat of the bar is also written as "big", which was corrected in GE2 (→GE3).

category imprint: Interpretations within context; Differences between sources

issues: Authentic corrections of GE , Inaccuracies in A

b. 19-20

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

4 big notes in AI & EE1

8 big notes in A, FE & GE1a (→GE2→GE3)

Small notes in CDP & EE2 (→EE3)

5 big notes in GE1
..

In the main text we give the version of A, confirmed by FE and most probably by Chopin proofreading of GE1a (→GE2→GE3). The notation of GE1 is erroneous, while AI and EE1 include the original concept of separating the tenor voice only in the part creating a descending melodic line. The versions of CDP and EE2 (→EE3) are certainly non-authentic.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of GE

b. 21

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

Bass G in AI, A (→CDP,GE1 & GE3) & EE

Bass E in FE & GE1a (→GE2)
..

The version of the 1st half of the bar, written in AI, A (→CDP,GE1) and EE is undoubtedly earlier. Chopin introduced the final version in proofreadings of FE and GE1a (→GE2), probably in order to avoid parallel octaves at the transition from the previous bar (cf. the commentary to the Etude in A minor, Op. 25 No. 4, bar 60). GE3 arbitrarily reinstates the version of A.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Authentic corrections of GE

b. 21

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

a1 in AI & GE1a (→GE2→GE3)

f1 in A (→CDP,GE1), FE & EE
..

Chopin changed the lowest note of the 3rd sextuplet in the R.H. twice:

  • AI has an a1, which in A was deleted and changed to f1. The change was somehow forced by the modification of the part of the L.H., in which Chopin renounced the f note. It is also GE1, EE (with a preserved G in the bass) and FE, which has F as the bass note, that have the changed version.
  • While proofreading GE1a (→GE2→GE3), Chopin changed this note again, this time reinstating a1. This version also seems to be related to the modification of the part of the L.H., in which it was the F note that became the bass one. We give this version in the main text, as it is the latest. However, Chopin was not consistent, as in FE – in spite of the change in the bass – he left a f1.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Authentic corrections of GE