mUltimate Chopin

Op. 25 No 8, Etude in D♭ major

Text Compare Notes Sources Description

Issues : EE revisions

b. 25

composition: Op. 25 No 8, Etude in D♭ major

 in A (→GE)

 in FE & EE2 (→EE3)
..

The earlier pedal release, marked in A (→GE) and still earlier – in EE1, are written in the sources transferring the original version of the bass motif in bars 25-26 (with single notes). Relation of pedalling with the sound of the bass progression seems to be quite likely, hence in the main text we give  at the end of the bar, in accordance with FE, in which Chopin introduced an improved version of the bass.

category imprint: Differences between sources

issues: EE revisions

b. 26

composition: Op. 25 No 8, Etude in D♭ major

..

In EE1 there is no  before g2, which in this context has to be considered as a mistake (admittedly an oversight).

category imprint: Differences between sources

issues: EE revisions , Cautionary accidentals , EE inaccuracies

b. 27-28

composition: Op. 25 No 8, Etude in D♭ major

No fingering in A (→GE) & EE1

Fingering in FE

Fingering writteninto FED
..

Chopin added the fingering of the bottom voice most probably at the time of proofreading FE (also in bars 28 and 29). What draws attention is the fact that the composer considered the fingering of the top voice to be obvious – cf. the Etude in Gminor, No. 6, bars 14-15. The entry in FED proves that what was obvious to Chopin was not that obvious even for such a talented pupil as Miss O'Meara.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FED , Authentic corrections of FE

b. 28

composition: Op. 25 No 8, Etude in D♭ major

No fingering in A (→GE) & EE1

Fingering in FE

Fingering in EE2 (→EE3)
..

The fingering of the beginning of the phrase was added by Chopin most probably at the time of proofreading FE. It was then repeated – with errors – in EE2 (→EE3). 

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Errors in EE , Authentic corrections of FE

b. 32-34

composition: Op. 25 No 8, Etude in D♭ major

..

The notation of the three-bar chromatic progression does not contain errors in the sources, yet some of the cautionary signs seem to be unnecessary. In the main text we leave only the naturals before d and e in the last triplet of each bar, as these are notes before which one can expect signs in the D major key (in A and FE Chopin omitted only the last of them, before e3 in bar 34, completed in GE1). In A (→GE1) and FE Chopin also added flats before a2 and b2 in bar 33 and a3 and b3 in bar 34. In EE, particularly in GE2 (→GE3), a few bars were added in each bar.
In Chopin notation it is the orthography of the 6th sixth in each of these bars that draws attention – Chopin consistently writes a-f instead of b-g, which are proper of the D major key. 

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions , Cautionary accidentals , Last key signature sign