Articulation, Accents, Hairpins
b. 19-23
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composition: Op. 10 No 2, Etude in A minor
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The pairs of hairpins in bars 19, 21 and 23 visible in Ap are not contrary to the general crescendo, as they mainly concern the melodic line. The meaning of short signs is unclear (cf. bars 20-22); according to us, they should be interpreted here as diminuendos matching the preceding them crescendos. We do not consider them in the main text. category imprint: Graphic ambiguousness; Differences between sources |
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b. 19
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composition: Op. 10 No 2, Etude in A minor
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In the main text we do not consider the accent underlining the beginning of the new section in Ap. category imprint: Differences between sources issues: Long accents |
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b. 20-22
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composition: Op. 10 No 2, Etude in A minor
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In Ap long accents on the 4th beat of bars 20 and 22 seem to be significantly related to the rhythmic values – both in the L.H. and in the lower voice of the right one the autograph features crotchets. category imprint: Differences between sources issues: Long accents |
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b. 24
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composition: Op. 10 No 2, Etude in A minor
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Chopin marked the last phase of crescendo both in FE, which we give in the main text, and in Ap. In the remaining sources it was the sign of FE that was reproduced, while in EE it was slightly shortened. category imprint: Differences between sources issues: EE inaccuracies , Authentic corrections of FE |
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b. 25-26
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composition: Op. 10 No 2, Etude in A minor
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The clearly long accents, written by Chopin in FEcor, were recreated in FE (→GE,EE) as short ones. Ap has even characteristic marks before the accents, which are typical for this autograph. In the version for printing Chopin did not use any of them. category imprint: Differences between sources issues: Long accents , Inaccuracies in FE |