mUltimate Chopin

Op. 25 No 4, Etude in A minor

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 33

composition: Op. 25 No 4, Etude in A minor

 in A (→FE,FC→GE)

No sign in EE
..

The missing  sign is most probably an oversight of the engraver of EE or of the person writing the base text for this edition.

category imprint: Differences between sources

issues: Errors in EE

b. 33-35

composition: Op. 25 No 4, Etude in A minor

Wedges in A (→FC→GE) & EE

No marks in FE
..

In FE there are no staccato signs in these bars. It is certainly an oversight of the engraver. 

category imprint: Differences between sources

issues: Errors in FE

b. 33

composition: Op. 25 No 4, Etude in A minor

..

In A (→FC,FE) there is no  lowering e to e. This patent inaccuracy was corrected in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 33-35

composition: Op. 25 No 4, Etude in A minor

..

GE2 (→GE3) added cautionary naturals before b2 in bar 33, e2 in bar 34 and e1 in bar 35. We give the last two – as justified, according to us – in the main text.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 35-38

composition: Op. 25 No 4, Etude in A minor

  in A

  in FC

No signs in FE

  in GE

  in EE
..

The sources quite clearly differ in the range of   hairpins, which suggests that they were not copied, but introduced by Chopin himself into three Stichvorlage manuscripts. To the main text we adopt the version of FC, as it is more compatible with the indications of EE – both define the dynamic wave filling four bars, which implies that Chopin wrote such a concept twice. The three-bar version of A must be, however, considered as an equal, alternative concept. The reason for omitting the hairpins in FE is unknown; the engraver's oversight seems to be the most likely answer.

We preserve the position of the signs over the part of the R.H., in accordance with the manuscripts. However, one cannot exclude that the reason for such placement could have simply been lack of space between the staves and moving them to the typical place, as it was performed in GE, is justified.   

category imprint: Differences between sources

issues: Errors in FE , Scope of dynamic hairpins , GE revisions