Issues : Hairpins denoting continuation
b. 12-13
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composition: Op. 25 No 2, Etude in F minor
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It is unclear whether according to Chopin diminuendo in these bars was supposed to be divided in two sections or not. In GC and CDP, bar 13 opens a new line of the text, hence it was most probably the same in [A]. In such a situation, two subsequent or signs were treated as equal to one, longer hairpins in Chopin's times. As two out of three sources based probably on [A] (GC and EE or FE) have divided signs and only one (CDP) – combined, in the main text we adopt the first notation. category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins , Hairpins denoting continuation |
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b. 12-13
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composition: Op. 50 No. 1, Mazurka in G major
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According to us, the hairpin written in A1 is to be interpreted as ending before the indication in b. 13. It is most likely that Chopin first wrote the top arm (perhaps before entering ) and then indicated the end of the mark with the ending of the bottom arm. Such an interpretation is confirmed by the mark of A1 in b. 36 and the notation of GE based on [A2] (in GE2 the mark was shortened with respect to GE1, which does not influence its meaning). In FE the mark was interpreted according to the length of the top arm; moreover, FE2 reproduced it inaccurately. It remains unclear how come that the mark was shortened in EE – perhaps by analogy with b. 36. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , Corrections in A , EE inaccuracies , Hairpins denoting continuation , Inaccuracies in A |
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b. 15-16
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composition: Op. 25 No 4, Etude in A minor
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The presence of two signs in EE may be explained as a revision, in which the sign in bar 16, compatible with the remaining sources, was completed with hairpins in bar 15 following bar 7. However, both signs can be authentic and it cannot be excluded that they are to be interpreted as one longer diminuendo. category imprint: Differences between sources issues: EE revisions , Hairpins denoting continuation |
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b. 17-18
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composition: Op. 28 No. 4, Prelude in E minor
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The high position of the L.H. chords and the resulting lack of space between the staves contributed to inaccuracies and mistakes in the reproduction of the hairpin – it was moved in FC (→GE, inaccurately) and overlooked in FE (→EE1). The mark in EE2 was added on the basis of GE1, overlooking its ending at the beginning of b. 18. In GE, there is a complete mark at the end of the line (in b. 17), in spite of the fact that b. 18 contains its ending in the form of a new mark – in times of Chopin, the contemporary, more accurate notation of such divided hairpins was not generally used yet. The absence of the mark in CGS is one of the arguments supporting the fact that the copy was prepared on the basis of FE. category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Scope of dynamic hairpins , Inaccuracies in FC , Hairpins denoting continuation |
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b. 20-21
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composition: Op. 45, Prelude in C♯ minor
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In the main text we give the mark stretching across one and a half bars, according to FE1 (→EE) and GE. The notation of FE2, although it meant the same in the context, can nonetheless be treated as an alternative version. category imprint: Differences between sources issues: Hairpins denoting continuation |