Articulation, Accents, Hairpins
b. 16
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composition: Op. 10 No 5, Etude in G♭ major
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Chopin removed the slur and crotchet stem and added staccato dots in a proofreading of FE (→GE,EE). category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 17-22
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composition: Op. 10 No 5, Etude in G♭ major
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According to us, three signs in bars 17-18 and 21, written by Chopin during a proofreading of FE, are long accents and they refer to b1 notes of appoggiatura nature in the L.H. This kind of motifs are often to be found in Chopin's works, e.g., in the Nocturne in G minor, Op. 37, No. 1, bars 1-2 and analog., the Polonaise in E major, Op. 22, bars 111-112 and analog. In the editions the signs are longer and aligned rather under the R.H. The fact that the engraver of FE not always correctly recreated Chopin's entries is proved by distorted accents in the Etude in A minor, No. 2, bars 8 and 12. In the main text we also suggest to add the mark in bar 22. In A the b1 notes in bars 17-18 and 21-22 were written instead of the original a1 notes.
category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions; Corrections & alterations; Source & stylistic information issues: Long accents , Corrections in A , Accompaniment changes , Authentic corrections of FE |
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b. 19-20
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composition: Op. 10 No 5, Etude in G♭ major
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In A only the following bass notes: d, A and D are provided with staccato dots. At the time of proofreading FE, Chopin added the dots next to the remaining quavers. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 21
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composition: Op. 10 No 5, Etude in G♭ major
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The staccato dot under A is most probably an addition of the reviser of GE. category imprint: Differences between sources issues: GE revisions |
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b. 23
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composition: Op. 10 No 5, Etude in G♭ major
category imprint: Differences between sources issues: Authentic corrections of FE |