Articulation, Accents, Hairpins
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b. 7-8
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composition: Op. 25 No 12, Etude in C minor
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It is unknown who interpreted Chopin's notation more accurately – Fontana in FC (→GE1) or the engravers of FE and EE. The version of GE2 (→GE3) is certainly non-authentic (and erroneous). The authenticity of the version of FC is additionally supported by the compatibility of the range of the hairpins in both analogous places (here and in bars 53-54). category imprint: Differences between sources issues: GE revisions |
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b. 13-14
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composition: Op. 25 No 12, Etude in C minor
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In one-bar passages, Chopin generally writes accents between the parts of both hands. There where a sign would have to be placed on ledger lines in the middle of the bar, e.g., in the discussed bars or in bars 67-70, Chopin most often writes it under the part of the L.H. As there is no doubt that the accent is valid for both hands, we add the sign over the part of the R.H. Actually, it cannot be excluded that such a notation was used by the composer himself in the base text to EE – cf. bars 43-44. See also bars 45-46. category imprint: Editorial revisions |
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b. 15-19
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composition: Op. 25 No 12, Etude in C minor
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In the main text we adopt a homogeneous form of accents at the beginning of bars 15, 17 and 19 – the long accents between the parts of both hands. As a model we adopt the accent written by Chopin in FC in bar 19. As an alternative we suggest long accents over the bottom stave, modelled on the ones Chopin probably added in bars 71, 73, 75 and 79. Similarly in bars 23, 25 and 27. category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Long accents , Omitted correction of an analogous place , Authentic corrections of FC |
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b. 16
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composition: Op. 25 No 12, Etude in C minor
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The accents in FC (→GE) and EE is the original version – in the proofreading of FE Chopin deleted the signs in all three analogous places (bars 16, 24 and 72). category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 16-20
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composition: Op. 25 No 12, Etude in C minor
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The accents in bars 16, 18 and 20 are written in the sources in the most varied way possible (here we discuss only 8 accents, without the 1st accent in bar 18 – see the note in that bar). The corrections visible in FC in bar 18, confirmed with similar changes in analogous bars 24, 26 and 28, prove that Chopin wanted to provide the 3rd and 4th beat of these bars with long accents, placed over the bottom stave. Similar corrections concerning the 2nd beat of the bar are visible in bars 72 and 78. According to us, it most probably meant that in all analogous bars the composer considered long accents placed between the staves to be most accurate, as we suggest it in the main text. Therefore, we consider the short accents in bars 16 and 20 to be the original version, left by inattention. category imprint: Differences between sources issues: Long accents , Omitted correction of an analogous place , Authentic corrections of FC |
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