



Articulation, Accents, Hairpins
b. 66
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composition: (Op. 4), Sonata in C minor, Mvt II
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In GE the staccato dot was placed at the end of the stem, as a result of which it was not reproduced by any of the remaining editions. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 66
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composition: (Op. 4), Sonata in C minor, Mvt II
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Although the A mark suggests the use of a short accent, in the main text we suggest a long accent due to the context of a long note, typical for long accents, additionally provided with a ten. indication (the issue of inaccurately written long accents in A – see mov. IV, bars 108-109). The editions also contain a long accent, extended, probably due to the fact that it was considered a diminuendo mark. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in GE , Errors in EE |
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b. 69
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composition: (Op. 4), Sonata in C minor, Mvt II
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The accent mark in A is longer than the one in bar 65, hence we reproduce it as a long accent. However, it is also likely that this difference is of a random nature, while the interpretation compliant with Chopin's intention is the one adopted by GE (→GE→FE,EE). category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Errors in IE |
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b. 77
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composition: (Op. 4), Sonata in C minor, Mvt II
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The staccato dot added in GE (→FE) is an arbitrary decision of the engraver or a mistake. Two similar sequences in the R.H. part (bar 73 and 75), in which it is also the first, longer octave that is devoid of a dot, prove that it was also in this case that Chopin did not write this mark on purpose. The compliance of EE and IE with the A version can be explained by revisions aimed at standardising this bar after bar 73 and 75. category imprint: Differences between sources issues: EE revisions , GE revisions , |