mUltimate Chopin

Op. 25 No 1, Etude in A♭ major

Text Compare Notes Sources Description

Issues : Deletions in A

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

 in AI

No markings in A (→GE), FE & EE
..

The pedal change written in AI was deleted in A.

category imprint: Differences between sources; Corrections & alterations

issues: 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. 3

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

No signs in AI & CDP

  in A

  in GE

  in EE

  in FE

Our suggestion
..

Chopin added the dynamic indication in this bar only at the time of preparing the Etude for print. Initially, he provided the f2 note with an accent (as in bar 2), yet eventually he chose a pair of   hairpins. However, the signs are imprecise – the arms of the first one are of different length, while the second seems to be shortened in order to avoid a possible illegible mergence of the sign with the note in the L.H. or the semiquaver beam in the R.H. (GE reproduced it in such a way). In the main text we suggest an interpretation of the hairpins of A based on the above analysis and comparison with FE and EE.

category imprint: Differences between sources; Corrections & alterations

issues: Inaccuracies in GE , Deletions in A

b. 7

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

 in AI, GE, FE & EE

Earlier  in A
..

The corrections of placing the  sign at the end of the bar, visible in A, do not prove, according to us, an intention of an earlier pedal release in this place. Chopin most probably wrote the sign already after the bar line (at the end of the line) and, in order to avoid misunderstandings, he wanted to place it precisely at the end of the bar, yet, as a result of deletions, an illegible inkblot was created. Considering the harmonic pedalling including the entire beats of the bar to be obvious, the composer wrote the necessary sign slightly earlier, at a safe distance from – probably fresh – stain. In GE, the sign was reproduced at the end of the bar and it is also AI, FE and EE that prove the correctness of this way of placement.

category imprint: Differences between sources; Corrections & alterations

issues: Deletions in A