mUltimate Chopin

Op. 25 No 3, Etude in F major

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b. 25

composition: Op. 25 No 3, Etude in F major

Pedal change in GC (→GE) & FE

No markings in FE

Our variant suggestion
..

The pedalling of EE is undoubtedly authentic; it cannot be excluded that, same as in many other similar situations (see bar 24), combining two figures based on one harmony with pedal is a result of Chopin's reflection and correction. However, as the transposition of the music narrative one octave down appears only here in the entire section (bars 17-28), it cannot be excluded that Chopin was not entirely sure of the pedalling of this bar. Due to this fact, we leave a possible pedal change at the discretion of the performer.

category imprint: Differences between sources

b. 25-28

composition: Op. 25 No 3, Etude in F major

..

Similarly as in bars 20-24, although to a lesser extent, the notation of [A] lacks a few – five in total – necessary sharps and naturals (as notation of the autograph, one can feel free to consider the compatible version of GC and FE). It does not impede the correct interpretation of the text. In EE1 the notation is far more accurate (only the  before the 1st f1 in the R.H. in bar 25 was overlooked), whereas the remaining editions have the totally correct text.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions , EE inaccuracies , Inaccuracies in GC

b. 26-27

composition: Op. 25 No 3, Etude in F major

No indication in GC (→GE) & FE

in EE

Our variant suggestion
..

The dim. indication was probably added by Chopin in the base text to EE. In the main text we give it in brackets, as the issue of chronology of Chopin corrections in three Schtichvorlage manuscripts is, to a significant extent, speculative.

category imprint: Differences between sources; Corrections & alterations

b. 29

composition: Op. 25 No 3, Etude in F major

No marking in GC (→GE)

in FE & EE

Our variant suggestion
..

Chopin's intention in relation to  at the beginning of the bar is unclear. It is both in FE and EE, yet in GC one can see deletion of this sign, hence it is absent in GE. It suggests Chopin's intention to withdraw from this indication. However, in FED, bearing traces of development of the Etude with Chopin,  is written in pencil for the second time (apart from the printed sign), which has to be interpreted as confirmation of its validity. Therefore, it is possible that Chopin hesitated whether to indicate the absolute dynamics level in this place. It cannot be excluded that the correction in GC is unfinished –  was written there only under the 2nd quaver and Chopin could have simply wanted to move it to the beginning of the bar, yet due to distraction he did not write the sign in the new place. This kind of finished shift can be seen in bar 43, in which  written by the copyist under the 2nd quaver was deleted by Chopin and added at the beginning of the bar.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FED , Authentic corrections in GC

b. 29-31

composition: Op. 25 No 3, Etude in F major

Short accents in GC (→GE) & FE

Vertical accents in EE
..

Changes of accents from horizontal to vertical are a characteristic manner of EE, also in other compositions by Chopin. In this case, the change included three bars, without any relation to the music, which suggests that the engraver considered these accents to be synonymous.

category imprint: Differences between sources

issues: EE revisions