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b. 5-6
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composition: Op. 29, Impromptu in A♭ major
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GE introduced arbitrary changes into quaver ties. category imprint: Differences between sources issues: GE revisions |
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b. 5
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composition: Op. 29, Impromptu in A♭ major
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In A the end of tie reaches the next bar. We consider it to be an inaccuracy of notation due to the obvious phrase structure and consistent slurring in almost each out of 11 analogous bars. category imprint: Graphic ambiguousness issues: Dedications , Inaccurate slurs in A |
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b. 6
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composition: Op. 29, Impromptu in A♭ major
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The crescendo hairpins are marked slightly different in each of the sources. The right-hand end of the hairpins in A is unclear. Comparison with analogous bars and FE and EE versions (out of which one is most probably based on a different autograph), enables considering A's notation as inaccurate. We harmonise the notation according to analogous places. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Scope of dynamic hairpins |
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b. 7
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composition: Op. 29, Impromptu in A♭ major
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In FE the mordent's sign was probably omitted. What is puzzling is the fact that there is no relevant entry in pupils' copies (e.g. in bar 21 Chopin added the omitted sign to FES and FEJ). category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 7
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composition: Op. 29, Impromptu in A♭ major
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The crescendo hairpins differ slightly in their range. In comparison with A (→GE), in FE the hairpins are extended on the entire penultimate triplet group. In EE they are totally absent (cf. remark concerning bars 7-9). category imprint: Differences between sources issues: Scope of dynamic hairpins |
