Issues : Long accents
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b. 429
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composition: Op. 21, Concerto in F minor, Mvt III
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It is unclear whether Chopin had a long accent in mind, emphasising the last chord of the cadence, or a short category imprint: Graphic ambiguousness issues: Long accents |
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b. 431
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composition: Op. 39, Scherzo in C♯ minor
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Similarly to the corresponding b. 89, we believe a long accent to be musically justified and, taking into account possible inaccuracies in reading the autograph, possibly accepted as a source. category imprint: Interpretations within context; Differences between sources issues: Long accents |
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b. 431
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composition: Op. 21, Concerto in F minor, Mvt III
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The mark placed at the beginning of this bar in A may be interpreted as a long accent, after bar 429, or as a category imprint: Graphic ambiguousness issues: Long accents |
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b. 433-446
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composition: Op. 39, Scherzo in C♯ minor
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We may assume that although the accent marks in GC (→GE) are quite large, when compared with the previous section - short accents in bars 416-431, and with the corresponding bars 91-96 and 99-104 - mostly long accents, they should be interpreted as short ones. Short accents can undoubtedly be found in EE (with the exception of a mark in b. 439 that must have been omitted). For the main text we adopt long accent found in FE as we see no reason to notate the bars in question differently from the corresponding bars 91-104. category imprint: Differences between sources issues: Long accents |
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b. 433-438
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composition: Op. 21, Concerto in F minor, Mvt III
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The shape of the accents in A, which are not very big, is generally typical of long accents (except for the sign in bar 437). However, in this case, it is understandable that the editions reproduced them as short accents. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE |
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