mUltimate Chopin

Op. 25 No 8, Etude in D♭ major

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b. 19

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

 in A (→GE) & EE3

 in FE

 in EE1 (→EE2)

 suggested by the editors
..

The type of the sign indicating the local culmination and its exact placement raise some doubts here:

  •  present in A (→GE) could have been replaced with  in the base texts to FE and EE1, which, in this situation, would have been Chopin's latest decision;
  • the  signs in FE and EE1 (→EE2) are placed slightly later and in different places, hence one can suspect an inaccurate reproduction of Chopin's notation or its misunderstanding.

In the main text we suggest a  as a result of Chopin's possible correction, placed in accordance with the musical sense at the beginning of the bar.

EE3 adopted the version of GE.

category imprint: Interpretations within context; Differences between sources

issues: fz – f , Centrally placed marks

b. 19

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

..

In A, FE and EE1 there are no cautionary flats on the 3rd quaver in the bar. The sign in the R.H. was added in GE1 and EE2 (→EE3), in the L.H. – in GE2 (→GE3). In the main text we consider both. 

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 19-20

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

dim. - - in A

dim. in FE

dimin. in GE

dim. - - in EE

dim. - - suggested by the editors
..

The effect of diminuendo, indicated by Chopin in these bars, results from the previous  or  at the beginning of bar 19. As in the main text we adopt  after FE and EE, we give dim. also on the basis of these sources (at the end of bar 19). In A Chopin moved this indication half a bar later (to bar 20); this correction could have been performed still before introducing  instead of .
The total or partial lack of dashes marking the range of diminuendo is almost certainly a result of an inaccurate reproduction of notation of the handwritten base texts by the engravers.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A

b. 19-20

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

No sign in A

 in FE

 in EE

 in GE
..

Lack of the  sign in A, intended or not, is symptomatic – Chopin did not want to precise the moment of the pedal's release or he was uncertain how to mark it (cf. the Prelude in C minor, Op. 45, bars 5-6 and analog.). The composer could have meant a gradual release of pedal, which was impossible to write adequately with the help of the adopted system of signs. In this situation, the signs in FE and EE, although undoubtedly authentic, are probably to be considered as an approximate proposal.
The sign added in GE is certainly non-authentic. 

category imprint: Differences between sources; Corrections & alterations

issues: GE revisions , No pedal release mark

b. 23

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

..

In A there are no accidentals in the last triplet in the L.H., which formally gives a d and then d1. This patent error was repeated in GE1 and EE, which proves how obvious the correct text seemed to be here. FE has a  – generally cautionary – before d, yet not an octave higher before the next quaver. The correct text is to be found only in GE2 (→GE3).

 

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , GE revisions , Cautionary accidentals