mUltimate Chopin

Op. 25 No 4, Etude in A minor

Text Compare Notes Sources Description

Issues : Scope of dynamic hairpins

b. 2-4

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

No signs in A (→FE)

  in FC (→GE1)

  in EE

  in GE2 (→GE3)
..

The pair of   hairpins must have been added by Chopin in FC and base text to EE. Nothing indicates that Chopin could have wanted to resign from these indications – their absence in A (→FE) is almost certainly a result of haste and insufficient attention at the time of parallelly introducing corrections and additions in three Stichvorlage manuscripts. Similarly in bars 6-8.
Shortening the  sign in GE2 (→GE3) is most probably an editorial revision or a mistake of the engraver. 

category imprint: Differences between sources

issues: Scope of dynamic hairpins , GE revisions , Authentic corrections of FC

b. 18

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

 below L.H. in A (→FC,FE) & EE

 between staves in GE
..

Moving the  hairpins in GE between the staves is certainly an arbitrary decision of the engraver, in this case, it is not entirely indifferent for the meaning of this sign.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , 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

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