mUltimate Chopin

Op. 25 No 1, Etude in A♭ major

Text Compare Notes Sources Description

Issues : GE revisions

b. 1

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

Title in AI & CDP

Title & dedication in A

Title & dedication in GE1 (→GE1a)

Title & dedication in GE2 (→GE3)

Title & dedication in FE

Title & dedication in EE1 & EE3

Title in EE2

Our suggestion
..

In the main text we give the title and dedication in accordance with the title page of the entire opus in A (we develop the Mme and Csse abbreviations used in A) and FE. In A (→GE) and FE, the particular etudes are provided with an additional title, Etude, with a corresponding ordinal number, which we represent through the number preceding the score. In EE, the numbering includes 12 Etudes, Op. 10, hence this etude is No. 13.
In GE and EE, the title includes the number of etudes in the entire Op. 25, which could be related to the division of the entire opus into two books, 6 etudes each, performed in these editions. Nothing indicates that Chopin considered this information to be important, although in other opuses including groups of pieces (Mazurkas, Nocturnes, Polonaises, Preludes, Waltzes), he would generally give the number of pieces.
EE2 omits the dedication, as the individual title page was replaced with a collective one, common for all Chopin pieces published by Wessel; in EE3, the dedication was added above the score on the 1st page.

category imprint: Differences between sources

issues: EE revisions , Dedications , GE revisions , Deletions in A

b. 1-2

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

Long accent in AI

  in A (→GE1→GE1a)

  in FE

  in EE

  in GE2 (→GE3)
..

The long accent under f2 at the beginning of bar 2 in #AW is the original concept of dynamic markings in these bars. In A one can see that Chopin rejected the accent (placed above this note) in favour of a pair of   hairpins. The hairpins were incorrectly reproduced in GE1 (→GE1a), yet only the fact of beginning diminuendo in GE2 (→GE3) from the beginning of bar 2 may be considered as a quite significant change. In FE and EE, diminuendo immediately follows crescendo. In the main text we reproduce the signs of A, the only ones written undoubtedly by Chopin's hand.

category imprint: Differences between sources; Corrections & alterations

issues: Long accents , Inaccuracies in GE , GE revisions , Deletions in A

b. 4

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

No signs in CDP & EE

Accent &  in AI

 in A

 in GE1

  in FE & GE1a (→GE2)

 in GE3
..

In the main text we give a pair of   hairpins, being a result of Chopin proofreading of GE1a (→GE2); it is also FE that has identical indications. Hence Chopin returned – in a modified form – to the original idea written in AI. The abbreviated sign of GE1 is an attempt to interpret a not entirely clear notation of A; another attempt was made in GE3, ignoring the authentic proofreading of GE1a.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: GE revisions , Authentic corrections of GE , Unclear hairpins in A

b. 6

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

..

In all manuscripts, FE and EE1 (→EE2) have no flats returning e2 and e1. This inaccuracy, so characteristic for Chopin, was corrected only in GE and EE3.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: EE revisions , Omissions to cancel alteration , GE revisions , Errors of A

b. 7

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

No signs in AI, CDP, A (→GE1), EE & GE3

  in FE & GE1a (→GE2)
..

The pair of hairpins was added by Chopin in a proofreading of GE1a (→GE2). The signs are also in FE, perhaps also added at the time of proofreading. In GE3 they were removed as part of comparing the compatibility of this edition with the original handwritten base text (A).

category imprint: Differences between sources; Corrections & alterations

issues: GE revisions , Authentic corrections of GE