mUltimate Chopin

Op. 25 No 4, Etude in A minor

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b. 41-42

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

No signs in A (→FE)

  in FC (→GE)

  in EE
..

Same as in bars 2-4, the pair of   was added most probably by Chopin in FC (→GE) and base text to EE. In this case, however, the range of signs, particularly of , clearly differ in FC and EE.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , Authentic corrections of FC

b. 44-46

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

  in A (→FE)

  in FC (→GE) & EE3

No signs in EE1 (→EE2)
..

It is hard to state with certainty how the visible in A and FC difference in placement of the pair of   signs was created. In the main text we give priority to the version of FC due to the higher extent of compliance with the hairpins in analogous bars 6-8 and 14-15.

category imprint: Differences between sources

issues: Scope of dynamic hairpins

b. 46

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

No markings in A (→FE)

Pedalling in FC (→GE) & EE
..

In A (→FE), omission of the pedalling written by Chopin in FC (→GE) and base text to EE was certainly unintentional.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FC

b. 46

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

No sign in A (→FC→GE) & EE

 in FE

Our variant suggestion
..

The  sign, added by Chopin in a proofreading of FE, proves that at the last stage of shaping of the Etude's notation, the composer decided to consolidate this way of interpretation – at least here, for the second time – in spite of the fact that earlier (cf. bar 8) he did not seem to be so adamant. In addition, it is justified by the combination of this crescendo with the preceding it pair of hairpins, suggested by us for the first time, in bar 8. On the other hand, the sound image of the entire section embracing bars 39-53 is clearly different in FE than in FC – the only three dynamic signs appear in FE in bars 44-46. Taking this into consideration, we assume that in the main text, generally based on FC, a possibility of omitting the discussed  in bar 46 should be left to the performers.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 46

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

..

In all sources, except for GE and EE2 (→EE3), there is no  returning g1 in the 3rd chord in the R.H. It is a characteristic for Chopin, patent inaccuracy (in analogous bar 8 Chopin wrote a relevant sign in A). In GE a  was added also before g2.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Omissions to cancel alteration , GE revisions , Errors of A