Issues : Scope of dynamic hairpins
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b. 8-9
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composition: Op. 29, Impromptu in A♭ major
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A, FE and GE differ in the range of crescendo hairpins. GE edition has the longest hairpins, while the shortest are in A. EE is lacking them completely (cf. remark concerning bars 7-9). In A one can see the sign's prolongation (see the adjacent remark concerning corrections in A). category imprint: Differences between sources issues: Scope of dynamic hairpins |
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b. 8-9
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composition: Op. 29, Impromptu in A♭ major
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Chopin changed the hairpins' concept in A: he deleted the crescendo hairpins in bar 9 and he prolonged the ones beginning in bar 8. Probably both changes were introduced at the same time: Chopin deleted the short hairpins in bar 9, planning to introduce a longer crescendo indication. In order to do that, he added an extension of the hairpins' arm from bar 8 or even the entire hairpins in two moves (the too short sign and extension). category imprint: Graphic ambiguousness; Corrections & alterations issues: Scope of dynamic hairpins , Deletions in A |
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b. 10
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composition: Op. 29, Impromptu in A♭ major
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The sources differ in placing the ending of the diminuendo hairpins. In A they end just before the 8th quaver, in FE and EE on the 6th, while in GE on the 9th quaver. category imprint: Differences between sources issues: Scope of dynamic hairpins |
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b. 14
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composition: Op. 29, Impromptu in A♭ major
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The sources differ in the range of dynamic hairpins. A's notation is ambiguous ‒ the lower arm is much shorter. Half-bar hairpins of GE are clearly longer than in A, on which the edition was based. It is a typical example of the manner of adjusting marks to the metric units. category imprint: Graphic ambiguousness; Differences between sources |
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b. 16-17
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composition: Op. 29, Impromptu in A♭ major
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We lead the diminuendo hairpins to the penultimate quaver after A. In FE and GE the hairpins are longer in both bars, while in EE they are much shorter in bar 17. category imprint: Differences between sources issues: Scope of dynamic hairpins |
