Issues : Long accents
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b. 12
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composition: Op. 10 No 2, Etude in A minor
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In the main text we give a long accent on the basis of Ap and a handwritten Chopin's entry in FEcor. The engraver of FE (→GE,EE) totally misunderstood Chopin's sign, reproducing it as category imprint: Differences between sources issues: Long accents , Inaccuracies in FE , Authentic corrections of FE |
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b. 12
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composition: Op. 10 No 2, Etude in A minor
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Same as in analogous bars 3-4, we propose an alternative interpretation of the short category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
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b. 12
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composition: Op. 28 No. 4, Prelude in E minor
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The accent in A has characteristic qualities of a long accent – it is quite narrow and goes beyond the next quaver. In spite of that, both FC (→GE) and FE (→EE) reproduced it as a short one. It is difficult to say for certain which accent George Sand had in mind in her copy – the mark, although longer than the accent in FE, is very similar to it. category imprint: Differences between sources issues: Long accents |
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b. 13
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composition: Op. 27 No 1, Nocturne in C# minor
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The first editions do not have any long accents other than the marks in bars 11 and 83 that could be interpreted as such. It is almost certain that this does not correspond to the notation of [A], as that type of accent belonged to Chopin's favourite markings. In the outer sections of the Nocturne, we propose long accents in the main text instead of short ones that appear in the editions, as we consider the former to be much more probable than the latter. category imprint: Interpretations within context issues: Long accents , Inaccuracies in GE |
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b. 13
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composition: Op. 39, Scherzo in C♯ minor
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The accent is only present in GC (→GE). The fact that EE does not have it here seems strange, as this edition does have an accent in the analogous bar 5. That fact indicates that the omission may be due to the engraver's oversight. category imprint: Differences between sources issues: Long accents |
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