mUltimate Chopin

Op. 25 No 9, Etude in G♭ major

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b. 4

composition: Op. 25 No 9, Etude in G♭ major

..

The cautionary  before c1, undoubtedly justified in this context, was added only in GE and EE3.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 7

composition: Op. 25 No 9, Etude in G♭ major

Fingering written into FES

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 8

composition: Op. 25 No 9, Etude in G♭ major

2 long accents in GC

No accents in FE

Short accent in GE1 & EE

2 short accents in GE2 (→GE3)
..

Same as in the previous bars, the accents are a result of Chopin additions in GC and (most probably) in the base text to EE. The first two signs are clearly longer, however, according to us, it follows from the intention of clearly writing the signs overlapping the slur. The missing second one in GE1 is most probably an oversight (cf. the note concerning the chord in the L.H.), yet it is hard to state what was the reason of omitting this sign in EE.

See also the note on articulation in this bar.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Long accents , Errors in GE

b. 8

composition: Op. 25 No 9, Etude in G♭ major

No sign in GC (→GE) & EE

Arpeggio sign in FE
..

The arpeggio sign before the 2nd chord in the L.H., present only in FE, was most probably added by Chopin in the base text to this edition or at the time of proofreading.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 8

composition: Op. 25 No 9, Etude in G♭ major

a in chord in GC, FE, EE1 (→EE2) & GE2 (→GE3)

No a in chord in GE1 & EE3
..

Omitting the a note in the 2nd chord could have been Chopin's correction, introduced together with the changes in the Etude in A major, No. 1. The composer could have considered the chord without a as an improvement, due to a slightly clearer sound, while maintaining both the completeness of the harmonic structure and logics of the voice leading. According to us, it is, however, the engraver's oversight that seems to be more likely here, as in this Etude – same as in the remaining ones, except for the first one – there are no other traces of possible Chopin interventions in GE1, while omissions of a clearly written note in the base text are to be found in the first German edition, e.g., in the Etude in A minor, No. 4, bar 37. The version of GE1 was repeated in EE3, whereas in GE2 (→GE3), the four-note version of the base text was introduced (GC).

category imprint: Differences between sources; Corrections & alterations

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