Articulation, Accents, Hairpins
|
b. 94
|
composition: Op. 24 No. 4, Mazurka in B♭ minor
..
It is not entirely clear whether Chopin intended the accent in A to apply to the right hand, as was understood in GE1 (→FE→EE), or to both hands, which we consider more likely. Allocation of the accent to the left hand, as in GE2 (→GE3), is in our opinion a mistake. category imprint: Differences between sources issues: GE revisions |
||||||||
|
b. 98
|
composition: Op. 24 No. 4, Mazurka in B♭ minor
category imprint: Differences between sources issues: Errors in GE |
||||||||
|
b. 99
|
composition: Op. 24 No. 4, Mazurka in B♭ minor
..
At the beginning of the bar, A has a long accent under e flat1. As accenting the note that is not struck is impossible on the piano, the accent mark may only refer to d flat2 in the upper voice. For the avoidance of doubt, in the main text we are moving the accent and place it above the R.H. part. GE (→FE→EE) have an ordinary short accent under e flat1. category imprint: Interpretations within context; Differences between sources issues: Long accents |
||||||||
|
b. 100
|
composition: Op. 24 No. 4, Mazurka in B♭ minor
..
The accent that can be seen under the dotted quaver in A has more features characteristic for a long accent. The corresponding mark in GE1 looks like an ordinary short accent, yet due to awkward horizontal planning of the notes in the bar it almost reaches the semiquaver, so in FE it was interpreted as a long one. In EE and GE2 (→GE3) the accents used were definitely short ones. category imprint: Differences between sources issues: Long accents |
||||||||
|
b. 100
|
composition: Op. 24 No. 4, Mazurka in B♭ minor
..
The staccato sign here is in the form of a short thin line, differing from the usual, point-like dots. A comparison with analogous places in the text (bars 14, 38 and similar ones) suggests inaccurate notation of A (uncontrolled hand movement). category imprint: Graphic ambiguousness issues: Wedges |
