![](/build/images/logo_left-en.png)
![](/build/images/pl-button.5cab5de0.png)
![](/build/images/pomoc-button.d3d09842.png)
![](/build/images/pomoc-button-en.5098433b.png)
Issues : Unclear hairpins in A
b. 27-28
|
composition: Op. 28 No. 16, Prelude in B♭ minor
..
In both category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information issues: Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , Unclear hairpins in A , Inaccuracies in FC |
|||||||||||
b. 31
|
composition: Op. 24 No. 2, Mazurka in C major
..
The extent of the hairpin mark category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins , Unclear hairpins in A |
|||||||||||
b. 34
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
We give the category imprint: Graphic ambiguousness; Differences between sources issues: Unclear hairpins in A |
|||||||||||
b. 37
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
The dynamic mark in A resembles a long accent. Yet, taking into account the marking of an analogous phrase two bars earlier, it can be considered diminuendo hairpins, and was interpreted as such in GE (→FE→EE). Anyway, the difference between the two interpretations is more academic than practical, both from the graphic and the performance-related point of view. category imprint: Graphic ambiguousness issues: Long accents , Unclear hairpins in A |
|||||||||||
b. 54
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
The hairpins in A may be considered slightly too short (which is difficult to notice in practice with the narrowed notation of A). Still. Chopin could not have intended a half-bar mark visible in GE (→FE→EE). category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins , Unclear hairpins in A |