Issues : Long accents
|
b. 4-12
|
composition: Op. 10 No 5, Etude in G♭ major
..
We consider the marks written in A under the chords in bars 4 and 12 as long accents. Only first of them was reproduced in FE (→EE2). In GE the sign in bar 4 became a common short accent and in bar 12 both chords were provided with staccato dots. In EE3 (→EE4) a short accent was added in bar 12. According to us, only the version of A is authentic. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE , Inaccuracies in FE , GE revisions |
|||||||||
|
b. 4-12
|
composition: Op. 10 No 3, Etude in E major
..
It is not entirely clear, which accent – short or long – Chopin had in mind in bar 4, while writing A. According to us, due to the melodic context, it is the long accent that is more plausible, yet it is worth observing that the accents in the L.H. in bars 1-2 are shorter from the discussed accent in bar 4. The problem is even more evident in bar 12. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
|||||||||
|
b. 4
|
composition: Op. 25 No 7, Etude in C♯ minor
..
The exclusive presence of the accent in FE suggests that it was added by Chopin in the proofreading of this edition (or still in the handwritten base text). The length of the accent is indicated by its placement to the right from the note. Similarly in bar 8, where the sign is not only moved, but also longer. category imprint: Differences between sources; Corrections & alterations issues: Long accents , Authentic corrections of FE |
|||||||||
|
b. 4
|
composition: Op. 21, Concerto in F minor, Mvt I
..
In A, one can have doubts concerning the type of accent Chopin wanted to use. According to us, in this context a long accent is more likely. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
|||||||||
|
b. 4-5
|
composition: Op. 21, Concerto in F minor, Mvt I
..
In A it is unclear what type of accents Chopin meant on the 4th beat of these bars. According to us, the use of long accents is more likely, which is indicated by both the shape of the sign in bar 4 and the placement of the sign in bar 5: this kind of short, yet shifted signs are sometimes to be found in Chopin's autographs, cf. e.g. Ap in the Etude in A minor, Op. 10 No. 2, bar 22, 27-29, 32, 45-46. In the editions the accents were reproduced as short; moreover, they were moved between the parts of both hands – the latter could have been indicated by Chopin in the proofreading of GE1. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , GE revisions |
