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Issues : Long accents
b. 2-10
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composition: Op. 10 No 3, Etude in E major
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The accent over the crotchet in bar 2 was added most probably by Chopin in a proofreading of FE (→GE,EE). Taking into account the fact that the engravers often did not understand the sign of the long accent and used to reproduce it as a casual accent or – often longer – category imprint: Interpretations within context; Differences between sources issues: Long accents , Authentic corrections of FE |
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b. 2
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The missing accent in GE must be the engraver's or Chopin's inadvertence, since in all similar situations, the syncopated crotchet beginning a motif is provided with an accent. category imprint: Differences between sources issues: Long accents , EE inaccuracies |
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b. 3
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composition: Op. 24 No. 1, Mazurka in G minor
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It is not clear whether the accent written in A was meant to be a short one or a long one. GE (→FE) has a short accent here, and the inaccurate placement of that mark in FE brought about its erroneous interpretation in EE. However, a comparison with the analogous bars 11, 51 and 59 points to the long accent option as being more probable. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
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b. 3
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composition: Op. 10 No 2, Etude in A minor
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It is not clear how to understand the signs shaped in the form of accents visible in Ap at the end of bars 3 and 4. Therefore, in both places we offer alternative interpretations. A similar problem appears in analogous bars 11-12, 38 and 39. category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources issues: Long accents |
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b. 3
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composition: Op. 10 No 6, Etude in E♭ minor
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The sign at the beginning of bar 3 in A (→FE→GE,EE) may be considered as category imprint: Interpretations within context; Differences between sources issues: Long accents |