Issues : Chopin's hesitations
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b. 33-34
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composition: Op. 25 No 1, Etude in A♭ major
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In the original version, written in AI, the bottom notes of the figuration in the R.H. double the melodic line from the middle of bar 33 – a1-g1-g1. in A, Chopin immediately wrote the changed version, also in the L.H. where on the 4th beat in bar 33 and 1st beat in bar 34 there are two g1 instead of d1 and e1 as the top notes. Interestingly enough, the final edition of the part of the R.H. in the 2nd half of bar 33 was initially written in AI, yet it was changed there. Hence we could talk about Chopin's hesitation here. Cf. the note to bars 32-33. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Accompaniment changes , Corrections of AI |
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b. 40
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composition: Op. 25 No 1, Etude in A♭ major
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In AI, Chopin introduced A first, same as in the final version, then he changed it to A1. While preparing the Etude for print, he, however, returned to the original concept, choosing eventually A. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Deletions in A |
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b. 48
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composition: Op. 25 No 1, Etude in A♭ major
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Both versions are certainly authentic, yet their chronology raises some doubts. The version with e3 was probably created earlier, as in AI it is already written with ink. Therefore, the octave in A is to be considered as one of these Chopin improvements that appeared in A with no traces of changing the version of AI (cf., e.g., bars 1, 7, 8). However, if – which seems to be likely – the base texts for FE and EE were copies of A, one should assume that Chopin added an e3 in them, thus returning to the original concept. However, not being entirely certain in this respect, in the main text we preserve the lighter version of A (→GE). category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations |
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