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 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 |
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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 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 |
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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 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 |