Issues : Unclear hairpins in A
b. 27-28
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In both marks in A the top arm is clearly longer than the bottom one. We adopt the range of the top arm, written first, in accordance with the more carefully written mark in similar b. 26. The relatively minor inaccuracies in the reproduction of the marks in FC were exaggerated in GE, in which attempts were taken at placing the marks in such a way that they fill the entire bars. A similar manner, although only in b. 27, can also be seen in FE (→EE). 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 |
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b. 31
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composition: Op. 24 No. 2, Mazurka in C major
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The extent of the hairpin mark in A may give rise to certain doubts due to inexact alignment of the L.H. part under the R.H. part. The engraver of GE1 (→FE→EE) probably matched the beginning of the hairpin with the L.H. crotchets, which was an evident mistake later corrected in GE2 (→GE3). Applied to the R.H., the hairpin mark in A doubtless refers to the quaver figure on the 3rd beat of the bar, despite the fact that it begins a little earlier. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins , Unclear hairpins in A |
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b. 34
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composition: Op. 27 No 2, Nocturne in D♭ major
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We give the according to A. category imprint: Graphic ambiguousness; Differences between sources issues: Unclear hairpins in A |
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b. 37
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composition: Op. 27 No 2, Nocturne in D♭ major
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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 |
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b. 54
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composition: Op. 27 No 2, Nocturne in D♭ major
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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 |