mUltimate Chopin

Op. 25 No 9, Etude in G♭ major

Text Compare Notes Sources Description

Issues : GE revisions

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. 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. 9-13

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

..

In GC (→GE1), FE and EE there are no naturals raising c to c in bars 9 and 13 and c1 to c1 in bar 12. These are Chopin's obvious oversights, while the signs were added in FED (in bar 9) and FEJ and FES (all).
GE1 also omitted the  raising c1 to c1 in bar 10. GE2 (→GE3) features the correct text. 

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , Errors in FE , Annotations in FED , Errors in EE , Errors in GE , GE revisions , Omission of current key accidentals , Annotations in FES , Annotations in FEJ

b. 12

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

..

In the main text we add a cautionary  before e. The sign was added already in GE1 and repeated in EE3. In GE2 (→GE3) a  was added also before g.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 15-17

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

 in GC

 in FE & EE

 in GE1

 in GE2 (→GE3)

 suggested by the editors
..

The  hairpins written in GC are certainly too long – leading the diminuendo one quaver beyond  placed at the beginning of the new phrase is unable to be performed in a noticeable manner (cf. the Etude in A minor, No. 11, bar 16). Therefore, in the main text we end the sign still in bar 16, in accordance with FE, EE and GE2 (→GE3). In turn, both potentially authentic moments of beginning the sign – in GC and in FE and EE – are, according to us, equally justified, as far as the music is concerned. The slight shift of the beginning of  in GE is a typical inaccuracy of this edition – adjustment of the range of the sign to the rhythmic structure (most often to beams).    

category imprint: Interpretations within context; Differences between sources

issues: Scope of dynamic hairpins , GE revisions , Inaccuracies in GC