mUltimate Chopin

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Issues : Scope of dynamic hairpins

b. 14-15

composition: Op. 31, Scherzo in B♭ minor

in A (→FE) & GE

in FC & EE
..

In accordance with the analysis of the  or  marks written by Chopin in A in this and analogous pairs of bars (see b. 6-7), in the main text we give an averaged, more or less one-bar long hairpin featured in FC and EE. According to us, all marks, regardless of their length, should be interpreted as long accents.

category imprint: Differences between sources; Editorial revisions

issues: Scope of dynamic hairpins , EE inaccuracies , Inaccuracies in FC

b. 14

composition: Op. 28 No. 16, Prelude in B♭ minor

in A

No sign in FC (→GE)

Longer  in FE (→EE)
..

The missing  hairpin in FC (→GE) resulted from an oversight of the copyist. In FE (→EE) the mark is longer due to it having been adjusted to the 2nd half of the bar.

category imprint: Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins , Errors of FC

b. 15

composition: Op. 25 No 1, Etude in A♭ major

No sign in AI & CDP

 in A & FE

 in GE

 in EE
..

An accurate determination of the range of  hairpins in A is impeded by different length of the sign's arms and inaccurately aligned first figures in the left and right hands. We assume that the sign is graphically correlated to the 3rd and 15th semiquavers, belonging to a secondary melodic motif.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Scope of dynamic hairpins , GE revisions , Unclear hairpins in A

b. 15

composition: Op. 25 No 1, Etude in A♭ major

No sign in AI & CDP

Long accent in A, literal reading

 in A (contextual interpretation →GE1→GE1a)

 in FE

 in EE & GE2 (→GE3)
..

The sign in A may be considered as a long accent, yet according to us, it is much more likely that Chopin had diminuendo hairpins in mind, closing the dynamic wave in this bar.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Scope of dynamic hairpins , 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