Articulation, Accents, Hairpins
b. 34-35
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composition: Op. 10 No 8, Etude in F major
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The hairpins and accent added in EE4 are certainly an addition of the reviser, probably modeled on authentic indications in bars 2-3. category imprint: Differences between sources issues: EE revisions |
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b. 35-36
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composition: Op. 10 No 8, Etude in F major
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Lack of accents is most probably Chopin's oversight, who omitted here also slurs. Cf. bars 7-8. category imprint: Editorial revisions issues: Inaccuracies in A |
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b. 38-39
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composition: Op. 10 No 8, Etude in F major
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In FE (→GE,EE) the staccato dot at the beginning of bar 38 was overlooked. In GE2 (→GE3→GE4) the dot in bar 39 (as well as in bar 40) was also omitted. category imprint: Differences between sources issues: Errors in FE , Errors in GE |
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b. 47-49
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composition: Op. 10 No 8, Etude in F major
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The long accents, written in A in bars 47 and 49, were reproduced in FE (→GE) as short. It is certainly a result of misunderstanding of Chopin's notation. However, it is difficult to determine what made the engraver or reviser of EE use marks resembling long accents, contrary to the base text. category imprint: Differences between sources issues: Long accents , EE revisions , Inaccuracies in FE |
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b. 51
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composition: Op. 10 No 8, Etude in F major
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The change of the position of the accent, which in A concerns the A1-A octave and in FE (→GE,EE) the chord at the beginning of the bar, must be considered as inspired or accepted by Chopin. While proofreading FE, the composer added an arpeggio mark and pedalling in the same place, hence it seems to be highly unlikely that he did not see the accent. category imprint: Differences between sources issues: Authentic corrections of FE |