Issues : Long accents
b. 3-12
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composition: Op. 28 No. 3, Prelude in G major
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It is unclear whether the accent in A was supposed to be long or short, according to Chopin. Both FC (→GE) and FE (→EE) interpreted it as short; a short accent is also in FCI (as well as in b. 12). In the main text we also favour a short accent – both the acceleration of the tempo of the Prelude and the shortening of the rhythmic value of this note are an argument for a short, purely dynamic accent. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Placement of markings |
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b. 3
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composition: Op. 28 No. 24, Prelude in D minor
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The missing accent in FC (→GE) resulted from the distraction of the copyist, who overlooked the marks from the entire first line of A. In FE (→EE) this long accent was reproduced as a half-bar diminuendo hairpin, which more or less corresponds to the length of the mark in A, but does not include the fact that it should be placed under the a1 crotchet only. category imprint: Differences between sources issues: Long accents , Inaccuracies in FE , Errors of FC |
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b. 3-15
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composition: Op. 28 No. 10, Prelude in C♯ minor category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
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b. 4
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composition: Op. 10 No 2, Etude in A minor
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The mark in FE (→GE,EE) is one of a few that had already been printed in FEcor. Therefore, its compliance with Chopin's intention is not certain due to the possibility of reversing the direction of the sign as a result of the engraver's error (cf., e.g., the Etude in C minor, No. 12, bar 53). Such an error seems to be possible if we take into consideration the four-bar section which ends here and the recurring first phrase with its crescendo and a possible in Ap. category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources issues: Long accents , Errors in FE , Sign reversal |
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b. 4
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composition: Op. 10 No 2, Etude in A minor
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The accent visible in FE (→GE,EE) should be rather interpreted as a short one, yet in FE even shorter signs were used, e.g., in the Etude in C major, No. 1, bars 1-2. Also the sign put in Ap (next to ) resembles more an ordinary short accent. However, the long accents written by Chopin in FEcor in analogous bars 12 and 39 clearly indicate Chopin's intention concerning the type of accent he wanted to use. category imprint: Interpretations within context; Differences between sources issues: Long accents |