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Issues : Authentic corrections of FE
b. 17
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composition: Op. 25 No 1, Etude in A♭ major
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In the main text we give the version with d category imprint: Differences between sources; Editorial revisions; Corrections & alterations issues: Authentic corrections of FE |
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b. 20
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composition: Op. 25 No 1, Etude in A♭ major
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The fourth semiquaver in the R.H. in A is written too low, so it resembles rather a d category imprint: Graphic ambiguousness; Differences between sources issues: Errors in EE , Errors in GE , GE revisions , Inaccurate note pitch in A , Authentic corrections of FE |
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b. 21
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composition: Op. 25 No 1, Etude in A♭ major
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The version of the 1st half of the bar, written in AI, A (→CDP,GE1) and EE is undoubtedly earlier. Chopin introduced the final version in proofreadings of FE and GE1a (→GE2), probably in order to avoid parallel octaves at the transition from the previous bar (cf. the commentary to the Etude in A minor, Op. 25 No. 4, bar 60). GE3 arbitrarily reinstates the version of A. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Authentic corrections of GE |
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b. 21
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composition: Op. 25 No 1, Etude in A♭ major
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The third group of semiquavers in the L.H. was changed by Chopin twice (cf. the note concerning the R.H.), hence it appears in the sources in three various versions. In the main text we give the latest of them, introduced in FE and in a proofreading of GE1a (→GE2→GE3). category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Authentic corrections of GE |
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b. 25
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composition: Op. 25 No 1, Etude in A♭ major
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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 |