Issues : Long accents
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b. 289
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composition: Op. 21, Concerto in F minor, Mvt I
category imprint: Differences between sources issues: Long accents , Inaccuracies in GE |
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b. 289
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composition: Op. 16, Rondo in E♭ major
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In this context, the sign reproduced in FE (→GE,EE) as a category imprint: Editorial revisions issues: Long accents |
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b. 290
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composition: Op. 21, Concerto in F minor, Mvt I
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The missing accent is certainly a mistake of GE1 (→FE→EE). The engraver might not have been sure to which note the shifted accent applied (it was one of the ways of marking long accents in Chopin's earlier autographs – cf. bar 230). category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Errors in GE , GE revisions |
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b. 290-293
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composition: Op. 49, Fantaisie in F minor
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The seven accents written in A, in spite of slight differences in length, are certainly long accents. All editions reproduced them as common, short accents, probably due to the fact that in this context they could not be considered diminuendos, which is how Chopinesque long accents were generally interpreted. The absence of the penultimate mark (at the beginning of bar 293) is most probably an oversight by the copyist or by the engraver of FE1. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Errors in FE , Inaccuracies in GE , Inaccuracies in FE |
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b. 291
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composition: Op. 21, Concerto in F minor, Mvt I
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It is unclear which type of accent Chopin meant here. The sign is shorter from all previous ones on this page of A (bars 289-290); however, its shape is characteristic of long accents – cf. the accent in bar 293. GE (→FE) has a short accent, which in EE was changed to a vertical sign. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE revisions |
hairpin is to be interpreted as a long accent.
