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Issues : Deletions in A
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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category imprint: Differences between sources; Corrections & alterations issues: 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. 3
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composition: Op. 25 No 1, Etude in A♭ major
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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 category imprint: Differences between sources; Corrections & alterations issues: Inaccuracies in GE , Deletions in 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 corrections of placing the category imprint: Differences between sources; Corrections & alterations issues: Deletions in A |