Issues : Hairpins denoting continuation
b. 4-6
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composition: Op. 26 No 1, Polonaise in C♯ minor
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In bar 6, opening a new line of the text in A (→FE→GE), Chopin wrote new hairpins. However, the range of both this sign and of the previous one (in bar 5) clearly indicates the intention of a continuous crescendo in both bars. This is how it was reproduced in the editions in the written repetition of these bars (in EE the unambiguous notation was used already in the first appearance of this fragment). Taking into account the fact that in our transcriptions bars 5-6 are in one line of the text, we use one sign, as the seemingly literal interpretation of both signs in such a graphical layout would have changed its sense to a much greater extent. category imprint: Interpretations within context; Differences between sources issues: Hairpins denoting continuation |
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b. 5-6
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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According to us, the most likely explanation for the existing discrepancy between the sources based on [A] is the sometimes used by the engravers identification of two (or more) following signs with one longer. A possible Chopin's correction in [A], introduced already after preparing GC, which is potentially an alternative explanation, seems to be poorly justified:
Due to this fact, in the main text we give the source and stylistically unquestionable indications of GC (→GE). category imprint: Interpretations within context; Differences between sources issues: FE revisions , Hairpins denoting continuation |
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b. 5-6
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composition: Op. 63 No. 2, Mazurka in F minor
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The separated hairpin in GE is a revision facilitating the engraver's work. In Chopin's times, both versions of notation were often considered equivalent. category imprint: Differences between sources issues: GE revisions , Hairpins denoting continuation |
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b. 6-7
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composition: Op. 45, Prelude in C♯ minor
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In the main text we suggest a variant solution that takes into account both the version of GE and that of FE (→EE). The two marks that can be seen in FE1 (→FE2, EE) could correspond to one longer mark in the autograph, as in Chopin's times publishers used to replace a single hairpin mark with two marks when it had to be divided because of a new line of text. For that reason we also propose an alternative version with such an interpretation of the marks. Due to differences in sources and clear analogies in the structure of motifs, the same problem also appears in ten other similar places in the Prelude (on this page in bars 10-11 and 20-21). category imprint: Differences between sources issues: Hairpins denoting continuation |
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b. 6
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composition: Op. 10 No 7, Etude in C major
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A has only a mark in the 2nd half of the bar, while FE (→GE,EE3) only marks in the 1st half. The marks added in the 1st half of the bar are undoubtedly a result of Chopin's proofreading, however, it is not entirely clear in the case of the mark omitted in the 2nd half of the bar. Therefore, in the main text we include the addition performed in FE (interpreting the mark as continuation of the previous one), yet we do not entirely renounce the hairpins written in A (cf. bar 7). A similar solution was introduced in EE4. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Authentic corrections of FE , Hairpins denoting continuation |