mUltimate Chopin

Op. 25 No 1, Etude in A♭ major

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b. 44

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

No indications in AI & CDP

 & leggieriss. in A (→GE)

 & leggieriss. in FE & EE
..

Both indications –  and leggieriss. – were probably added by Chopin at the last stage of preparing the manuscript base texts for the editions. It is proven both by their absence in AI and CDP and different placement of leggieriss. in FE and EE – Chopin probably wrote this indication in this form in [FR] and [AR].

category imprint: Differences between sources; Corrections & alterations

b. 46-47

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

  & dim. in AI

  in A (→CDP,GE)

  in FE & EE
..

The dynamic indications of AI represent their previous edition. In the remaining sources, one can see the final concept, while the versions of FE and EE, in which the  sign is shorter and  falls on the end of diminuendo, seems to be more natural in this context.

category imprint: Interpretations within context; Differences between sources

issues: Scope of dynamic hairpins

b. 47-48

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

 in bar 48 in AI

 in A (→CDP,GE), FE & EE
..

It is worth noting that due to the different range of  hairpins, the  indication in bar 47 has a slightly different meaning in A (→CDP,GE), where it falls in the middle of diminuendo, and a different one in FE and EE, where it appears as the last dynamic indication. 

category imprint: Differences between sources; Corrections & alterations

b. 48

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

a2-e3-a3 in AI, FE & EE

a2-a3 in A (→CDP,GE)
..

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

b. 48

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

No signs in AI & FE

L.H. arpeggio sign in A (→CDP,GE)

Two arpeggio signs in EE
..

Taking into account the span of the chord in the L.H., lack of arpeggio next to the chord must be considered as an inaccuracy of notation. In turn, the arpeggio in the R.H. could have been added by Chopin in the base text to EE, although the revision of the editor is also possible.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE