Articulation, Accents, Hairpins
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b. 107-108
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composition: Op. 29, Impromptu in A♭ major
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The sources differ in the range of diminuendo hairpins and placement of the indication dim. In A the hairpins begin between the 2nd and 3rd quaver, in EE under the 4th quaver, while in FE and GE under the 1st one. Moreover, in GE the range of hairpins was shortened, hence they include only bar 107. We adopt the notation of A and leave the typical for Chopin placement of dim. on an arm of the hairpins. category imprint: Differences between sources issues: Scope of dynamic hairpins |
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b. 111-112
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composition: Op. 29, Impromptu in A♭ major
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In GE4 and FE the accents were overlooked. EE lacks half of the accents in bar 111, whereas in bar 112 the accent on the 5th quaver was changed into the vertical one. We preserve the notation of A. category imprint: Differences between sources |
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b. 112
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composition: Op. 29, Impromptu in A♭ major
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Differentiation in the manner of representation of staccato may stem from the ambiguous notation of the base texts and arbitrary editorial revisions in this respect. Chopin's wedges were much more often ignored by the editors and changed into dots; therefore, their presence in FE and EE may be a proof of the accurate notation of the lost manuscripts. It is very likely that the repetition of the wedge in the L.H. in EE is the engraver's error, introduced by analogy of rhythmic figures of both hands in that bar. category imprint: Differences between sources |
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b. 112
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composition: Op. 29, Impromptu in A♭ major
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We interpret the ambiguous accent in A as short (as it is in the editions). We consider the long accent to be less probable. category imprint: Differences between sources issues: Long accents |
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b. 113-114
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composition: Op. 29, Impromptu in A♭ major
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The accent in A is ambiguous. We assume that it is rather short (as in the editions), although its interpretation as long accent cannot be excluded. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
