Articulation, Accents, Hairpins
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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 |
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b. 7-9
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composition: Op. 29, Impromptu in A♭ major
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EE is lacking dynamic indications. It must be an omission, as it concerns the entire line of the text. category imprint: Differences between sources issues: Errors in EE |
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b. 8-9
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composition: Op. 29, Impromptu in A♭ major
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A, FE and GE differ in the range of crescendo hairpins. GE edition has the longest hairpins, while the shortest are in A. EE is lacking them completely (cf. remark concerning bars 7-9). In A one can see the sign's prolongation (see the adjacent remark concerning corrections in A). category imprint: Differences between sources issues: Scope of dynamic hairpins |
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b. 8-9
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composition: Op. 29, Impromptu in A♭ major
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Chopin changed the hairpins' concept in A: he deleted the crescendo hairpins in bar 9 and he prolonged the ones beginning in bar 8. Probably both changes were introduced at the same time: Chopin deleted the short hairpins in bar 9, planning to introduce a longer crescendo indication. In order to do that, he added an extension of the hairpins' arm from bar 8 or even the entire hairpins in two moves (the too short sign and extension). category imprint: Graphic ambiguousness; Corrections & alterations issues: Scope of dynamic hairpins , Deletions in A |
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b. 10
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composition: Op. 29, Impromptu in A♭ major
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The sources differ in placing the ending of the diminuendo hairpins. In A they end just before the 8th quaver, in FE and EE on the 6th, while in GE on the 9th quaver. category imprint: Differences between sources issues: Scope of dynamic hairpins |
