mUltimate Chopin

Op. 25 No 2, Etude in F minor

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Articulation, Accents, Hairpins

b. 3-4

composition: Op. 25 No 2, Etude in F minor

  in AT

No signs in AW

  in CDP

  in GC (→GE), FE & EE
..

In practice, the differences in the range of the dynamic hairpins, in spite of being quite significant, are of minimal influence on the interpretation of these signs. Lack of hairpins in AW may be a proof of Chopin's inadvertence rather than hesitation.

category imprint: Differences between sources

issues: Chopin's hesitations

b. 7-8

composition: Op. 25 No 2, Etude in F minor

  in AT

  in AW

No signs in GC (→GE)

  in CDP & FE

  in EE
..

The missing   in GC (→GE) is probably the copyist's oversight. Among marginal differences in the range of signs in particular sources, only the shorter hairpins of AW may suggest a slightly different shaping of the nuance. In the main text, we give the hairpins on the basis of FE (and CDP).

category imprint: Differences between sources

issues: Scope of dynamic hairpins , Errors of GC

b. 9

composition: Op. 25 No 2, Etude in F minor

No sign in AT, AW, CDP, GC (→GE) & FE

 in EE
..

The  hairpins in EE may be a result of a mistake, as there is no similar sign in this place in any other source, neither in this nor in analogous bars.

category imprint: Differences between sources

b. 10-11

composition: Op. 25 No 2, Etude in F minor

 in AW

 in CDP, FE & EE

 in GC (→GE)
..

All three ranges of the  sign are most probably authentic. In the main text we give the  hairpins on the basis of GC (→GE). The range of the sign in these sources is in the middle between the hairpins in AW and those in CDP, FE and EE.

category imprint: Differences between sources

issues: Scope of dynamic hairpins

b. 12-13

composition: Op. 25 No 2, Etude in F minor

No signs in AT & AW

One sign  in CDP

Two signs  in GC (→GE), FE & EE
..

It is unclear whether according to Chopin diminuendo in these bars was supposed to be divided in two sections or not. In GC and CDP, bar 13 opens a new line of the text, hence it was most probably the same in [A]. In such a situation, two subsequent  or  signs were treated as equal to one, longer hairpins in Chopin's times. As two out of three sources based probably on [A] (GC and EE or FE) have divided signs and only one (CDP) – combined, in the main text we adopt the first notation.
However, most probably these bars, independently from the notation, are supposed to be embraced with one diminuendo wave, as it was unambiguously indicated in analogous bars 31-32.

category imprint: Differences between sources

issues: Inaccuracies in GE , Scope of dynamic hairpins , Hairpins denoting continuation