mUltimate Chopin

Op. 25 No 1, Etude in A♭ major

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 14

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

No sign in AI & CDP

 in A

 in GE

 in FE

 in EE
..

In the main text we determine the range of  hairpins on the basis of the notation of A. In GE the notation was considered to be inaccurate, which make us cautiously approach also the versions of the remaining editions.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 15

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

No sign in AI & CDP

 in A & FE

 in GE

 in EE
..

An accurate determination of the range of  hairpins in A is impeded by different length of the sign's arms and inaccurately aligned first figures in the left and right hands. We assume that the sign is graphically correlated to the 3rd and 15th semiquavers, belonging to a secondary melodic motif.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Scope of dynamic hairpins , GE revisions , Unclear hairpins in A

b. 15

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

No sign in AI & CDP

Long accent in A, literal reading

 in A (contextual interpretation →GE1→GE1a)

 in FE

 in EE & GE2 (→GE3)
..

The sign in A may be considered as a long accent, yet according to us, it is much more likely that Chopin had diminuendo hairpins in mind, closing the dynamic wave in this bar.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Scope of dynamic hairpins , GE revisions

b. 16

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

No mark in AI, CDP & FE

Long accent in A & GE2 (→GE3)

 in EE

Short accent in GE1 (→GE1a)
..

In GE1 (→GE1a) the undeniable long accent of A was reproduced as short. In the second German edition (GE2 and GE3), the sign was slightly extended, hence we assume that the edition includes a long accent, in accordance with A. It is hard to state to what an extent the  hairpins visible in EE faithfully reproduce a message from Chopin, therefore, in the main text we adopt the accent written in A.

category imprint: Differences between sources

issues: Long accents

b. 17

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

Long accent in AI

  in A (→GE1→GE1a)

  in FE

  in EE

  in GE2 (→GE3)
..

In all sources related to the publication process of the Etude (A and editions), the bar is provided with a pair of dynamic hairpins. However, the sources or their groups differ quite significantly, as far as the range of the signs is concerned. In the main text, we give the signs of FE, showing similarity to the indications in analogous bar 19. Chopin could have written such hairpins in the base text to FE or added while proofreading this edition. GE2 (→GE3) also include a similar version, probably revised on the basis of comparison with bar 19.

category imprint: Interpretations within context; Differences between sources

issues: Scope of dynamic hairpins