mUltimate Chopin

Op. 25 No 9, Etude in G♭ major

Text Compare Notes Sources Description

Issues : Authentic corrections in GC

b. 25

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

No indication in GC (→GE)

marcato in FE

marcato in EE
..

It seems to be highly unlikely that Chopin consciously resigned from the marcato indication in GC (→GE). Its absence can be explained either by its oversight by the copyist or its later addition by Chopin in the base text to FE and EE (perhaps as a new idea after resignation from accents whose deletion in bars 25-29 is visible in GC). According to us, adding the accents as an equivalent of marcato and complete resignation from suggesting distinctive accentuation seem to be much less likely. Taking into account the above possibilities, we give this indication in the main text, placed as in FE, as the placement of marcato in EE under the part of the L.H. may be an arbitrary decision of the engraver or copyist.

category imprint: Differences between sources

issues: Authentic corrections in GC

b. 32

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

No sign in GC (→GE1) & EE1

 in FE, GE1 & GE2 (→GE3)

 in GE2 (→GE3)

 suggested by the editors
..

It is likely that by introducing the  sign on the  sign in GC, Chopin wanted to extend the original, half-bar-long pedal. Due to this fact, in the main text we suggest to release the pedal only at the end of the bar; the version is included in GE2 (→GE3). In FE, GE1 and EE2 (→EE3), the pedalling embraced only the 1st half of the bar, which in the case of GE1 probably results from misunderstanding the sense of the correction described above.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections in GC

b. 36

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

Accent in GC (→GE)

No mark in FE & EE
..

The accent under a1 was most probably added in GC (→GE) by Chopin.

category imprint: Differences between sources

issues: Authentic corrections in GC

b. 37-38

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

G1, d in GC & GE2

d-b, G in FE

G1, d in GE1

G1, d in GE3

B1, d in EE1

d-b, G in EE2

G1, d in EE3
..

In GC, the version beginning from G1 was written by Chopin instead of the original version of FE, beginning from the sixth. This undeniable improvement was also introduced in the base text to EE1, in which, however, it was reproduced inaccurately – both B1 at the beginning of the bar and the lack of tie sustaining d are most probably mistakes. In turn, EE1 includes a dot extending the des crotchet, overlooked in GC. This inaccuracy of the notation of GC was corrected only in GE3, which, thanks to this, is the only source in which the final version is written flawlessly.
The versions of EE2 and EE3 are a result of subsequent revisions – in EE2 it was the version of FE (only in the 1st half of bar 37) that was introduced, whereas in EE3 it was the final version that was reintroduced, yet in an inaccurately written form drawn from GE1.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Inaccuracies in GE , Errors in EE , Terzverschreibung error , GE revisions , Accompaniment changes , Authentic corrections in GC

b. 41

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

in GC (→GE) & EE

No indication in FE
..

In GC, the leggierissimo indication replaced the earlier written . A similar addition was added probably by Chopin in the base text to EE. In FE, the correction was either overlooked, if there was no , or unfinished, if it was there.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections in GC