mUltimate Chopin

Op. 25 No 9, Etude in G♭ major

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Verbal indications
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Verbal indications

b. 1

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

Title & dedication in GC

Title & dedication in GE1

Title & dedication in GE2 (→GE3)

Title & dedication in FE

Title & dedication in EE1 & EE3

Title in EE2

Our suggestion
..

In the main text we give the title and dedication after the title page of the entire opus in GC and FE.
See the Etude in A major, No. 1.

category imprint: Differences between sources

issues: EE revisions , Dedications , GE revisions

b. 1

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

 

in FE

in EE
..

All three source indications of the tempo-character are almost certainly authentic (vivace and assai – certainly, non tanto – highly likely). It means that Chopin changed his mind on this issue at least twice, yet the order of the changes is unknown – we only know that assai is later than vivace, as in GC there is a relevant correction. Chopin's hesitation concerned rather terminology than the actual tempo of the Etude, as the later added metronome tempo is the same for all three indications. The choice of one of them is then of a minor practical meaning. In the main text we give assai, with which Chopin replaced vivace, which seems to correspond better to the fast (for the rhythm and texture used in the Etude) tempo indicated by the metronome.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , 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

in GC, EE & GE2 (→GE3)

No sign in FE & GE1
..

Lack of  in FE is, according to us, the original version. The sign was also omitted in GE1, most probably as a result of misinterpretation of the correction in GC.

category imprint: Differences between sources

b. 37

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

..

The  concerning the bass G1 appears only in the sources including the later version of this bar – GC (→GE) and EE3 (in EE1 the indication was overlooked).

category imprint: Differences between sources

issues: EE inaccuracies