mUltimate Chopin

Op. 25 No 1, Etude in A♭ major

Text Compare Notes Sources Description

Issues : Deletions in A

b. 7-8

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

AI

A (→CDP,GE), FE & EE
..

In AI in both bars the 3rd figure in the R.H. preserves the regular melodic shape, i.e. the last two notes of the sextuplet are the same as the second and third note. Chopin changed it in A (→GE), correcting the already written original version. The remaining sources also include the final version.

category imprint: Differences between sources; Corrections & alterations

issues: Deletions in A , Accompaniment changes

b. 9-10

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

 in AI

 in A (→GE), FE & EE
..

The previous pedal change – at the transition between bars 9 and 10 – written in AI, was deleted in A (→GE). FE and EE also include the final version of pedalling, compatible with analogous bars 1-2.

category imprint: Differences between sources; Corrections & alterations

issues: Deletions in A

b. 18

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

F minor in AI

C major & F minor in A (→CDP,GE), FE & EE
..

The version of AI, closely analogous to bar 20, is undoubtedly original. In A one can see traces of rearranging this version to the final text.

category imprint: Differences between sources; Corrections & alterations

issues: Deletions in A

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. 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