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Source: 
p. 1, b. 1-18
p. 1, b. 1-18
p. 2, b. 19-33
p. 3, b. 34-50
p. 4, b. 51-68
p. 5, b. 69-84
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A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
EE - English edition
EE3 - Corrected impression of [EE2]
EE4 - Revised impression of EE3
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A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
EE - English edition
EE3 - Corrected impression of [EE2]
EE4 - Revised impression of EE3
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  b. 15-16

Accents in A, interpretation

FE (→GE)

EE

It is uncertain whether Chopin wanted to contrast the type of accents in the R.H. in these bars. The marks in A are of similar size, yet they differ in their position, which, according to us, indicates their otherness. Therefore, we interpret the accents on the 4th beat in each of the bars as long ones. In FE the difference in the length of the marks seems to be irrelevant and accidental; this is how it was interpreted in GE. In turn, in EE the difference was increased, so the accents on the 2nd beat in the bars are clearly longer.

Compare the passage in the sources»

category imprint: Graphic ambiguousness; Interpretations within context

issues: Long accents

notation: Articulation, Accents, Hairpins

Missing markers on sources: FE1, FE2, FED, FEJ, FES, A, GE1, GE2, GE3, GE4, EE3, EE4