Rhythm
|
b. 1
|
composition: Op. 25 No 1, Etude in A♭ major
..
Lack of upbeat in AI is characteristic for the original versions – cf., e.g., the autograph of the first edition of the Mazurka in A category imprint: Differences between sources; Corrections & alterations issues: Main-line changes , Changed phrase length |
|||||||
|
b. 15-16
|
composition: Op. 25 No 1, Etude in A♭ major
..
The version of AI suggests that Chopin initially heard a monophonic melody in these bars or that he at least wanted to include all audible motifs as part of one melodic line. Eventually, he rejected this idea, probably unwilling to blur the polyphony-like structure of these bars. The additions in FES prove that this scarce notation was not understandable to everyone. category imprint: Differences between sources; Corrections & alterations |
|||||||
|
b. 16
|
composition: Op. 25 No 1, Etude in A♭ major
..
The version with the five-note group was created as a result of Chopin correction in A – the composer deleted the last G semiquaver there. We consider this change to be final due to its undeniable advantages – the transition to the next bar is significantly smoother, as far as the harmony (preparing a new chord position), rhythm (transition to a new rhythmic formula), and piano technique (facilitating the change of the hand's position) are concerned. A similar change was introduced – probably at Chopin's request – in bar 34. category imprint: Differences between sources; Corrections & alterations |
|||||||
|
b. 17-18
|
composition: Op. 25 No 1, Etude in A♭ major
..
The sources differ in the size of note heads of the third semiquaver in each of the groups. In the main text, we give the version of FE, confirmed by Chopin proofreading of GE1a (→GE2→GE3). The heads of normal size ("big") signalise here the appearance of an additional melodic line in the tenor voice. In the remaining sources, the voice is not distinguished (EE) or it appears only at the beginning of bar 18 (AI and A). category imprint: Differences between sources issues: Inaccuracies in GE , EE inaccuracies , Authentic corrections of GE |
|||||||
|
b. 17-18
|
composition: Op. 25 No 1, Etude in A♭ major
..
The differing abbreviated notation of AI and A could suggest that in the latter all four E notes are supposed to have normal ("big") note heads. According to us, the notation of A, despite being simplified, is to be, however, interpreted in accordance with AI – in A we see the same abbreviation also in bar 36, in which the distinction of only the first A In GE1 (→GE1a), the first F in bar 18 is written as a small note. The mistake was corrected in GE2 (→GE3). category imprint: Interpretations within context; Differences between sources |
major, Op. 7 No. 4 or the album autograph of the initial theme of the Nocturne in F minor, Op. 55 No. 1. 
