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Op. 25 No 1, Etude in A♭ major

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b. 23

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

..

FE2 added a cautionary  before g1, undoubtedly justified after g1 appearing in this edition at the end of the previous bar. Similarly in EE3, where the cautionary  was added both in the R.H. and in the L.H. before g.

category imprint: Differences between sources

issues: EE revisions , Cautionary accidentals , FE revisions

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. 25

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

A & a1 in AI, A (→CDP), FE & EE

A & a1 in GE1

A & a1 in GE2 (→GE3)
..

The flats lowering A and a1 to A and a1 in the last group of semiquavers were added in a proofreading of GE (it was not a routine revision, as, e.g., in bar 6, as both added signs differ in typeface from the others). The remaining sources have here A and a1. The question of authenticity of this change (as well as of the change introduced also in GE1 in bar 34) is one of the most difficult editorial problems in Chopin's pieces (see the characteristics of GE1). The version of GE, in which the combination with the next bar is smoother, thanks to a common note (a), and shows signs of Chopin improvement, hence we give it as the basic one (we change the note head of A – in accordance with the rule valid throughout the entire Etude – in the L.H. to a bigger one; it was already performed in GE2 and GE3). There arises a question, why did Chopin not introduce such a hearable change to FE? – at the moment of occurrence of this idea, the edition could have been already finished. In turn, lack of a relevant correction in pupil's copies, FED or FES, can be explained with the fact that after a few years from completing the piece, the original, well-sounding text did not generate opposition of the composer during the lessons. 

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

issues: Authentic corrections of GE

b. 25

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

a1 in AI, A (→CDP,GE) & EE

e1 in FE
..

The version of FE may be a result of Chopin's correction – in the manuscript base text or in the very FE. One cannot also exclude a kind of misunderstanding at the time of interpreting the manuscript. Due to these issues, in the main text we give the undoubtedly authentic version of the other sources.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 25

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

..

In the majority of the sources, there are inaccuracies concerning the notation of accidentals, not having an impact on the interpretation of the text. In AI, A (→CDP) and FE, there are no naturals before the 3rd note in the L.H. (a) and the 4th note in the R.H. (e1), while in EE1, there is no  before the 3rd note in the R.H. (c2). GE and EE2 (→EE3) have the correct text. In some of the sources, there are additional cautionary accidentals – naturals before A in the middle of the bar and a1 in the last group in AI and before c3 in GE3 (→#GE4). 

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in FE , Errors in EE , GE revisions , Inaccuracies in A