Articulation, Accents, Hairpins
|
b. 30
|
composition: Op. 29, Impromptu in A♭ major
..
The sign staccato over f2 in A has clearly a shape of a wedge, similarly in FE and EE. In GE the sign was interpreted as a dot, which does not stem from A's ambiguous notation, but from the general rule adopted in the edition: in the entire Impromptu there is not a single appearance of wedges. The wedge in the L.H. in EE is probably an addition to the edition. Cf. bar 112. category imprint: Differences between sources issues: EE revisions , GE revisions |
|||||||
|
b. 30
|
composition: Op. 29, Impromptu in A♭ major
..
The accent in A is clearly longer than the three previous ones. In GE, similarly as in the entire Impromptu – it was interpreted as a regular, short accent. The short accent is also in FE and EE. category imprint: Differences between sources issues: Long accents |
|||||||
|
b. 30
|
composition: Op. 29, Impromptu in A♭ major
..
On the 7th quaver one can see the accent's deletion in A. category imprint: Corrections & alterations issues: Deletions in A |
|||||||
|
b. 30
|
composition: Op. 29, Impromptu in A♭ major
..
In A one can see a deleted accent over the last crotchet in the R.H. It is hard to determine whether Chopin moved the accent between the pentagrams or he originally wrote 2 accents and then deleted the upper one. category imprint: Corrections & alterations issues: Deletions in A |
|||||||
|
b. 31-32
|
composition: Op. 29, Impromptu in A♭ major
..
It is unclear whether the accents in A should be interpreted as short or long. In bars 31-32 it seems more probable to interpret them as short ones. Similar doubts concern analogous bars 113-114 and 117-118. category imprint: Graphic ambiguousness issues: Long accents |
