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Issues : GE revisions
b. 1
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composition: Op. 25 No 1, Etude in A♭ major
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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. category imprint: Differences between sources issues: EE revisions , Dedications , GE revisions , Deletions in A |
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b. 1-2
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composition: Op. 25 No 1, Etude in A♭ major
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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 category imprint: Differences between sources; Corrections & alterations issues: Long accents , Inaccuracies in GE , GE revisions , Deletions in A |
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b. 4
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composition: Op. 25 No 1, Etude in A♭ major
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In the main text we give a pair of category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: GE revisions , Authentic corrections of GE , Unclear hairpins in A |
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b. 6
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composition: Op. 25 No 1, Etude in A♭ major
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In all manuscripts, FE and EE1 (→EE2) have no flats returning e category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: EE revisions , Omissions to cancel alteration , GE revisions , Errors of A |
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b. 7
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composition: Op. 25 No 1, Etude in A♭ major
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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 |