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Issues : Long accents
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b. 55-56
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composition: Op. 10 No 5, Etude in G♭ major
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It does not seem possible that the accents of A, clearly falling on the 3rd quaver in both bars, took the form they have in FE due to the engraver's inaccuracy. Therefore, we consider the version of FE as an expression of Chopin's latest intention (despite the difference in length we consider both signs as long accents, as it was interpreted in EE). In GE the signs were given the form of short category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , Authentic corrections of FE |
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b. 61-62
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composition: Op. 10 No 5, Etude in G♭ major
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It is uncertain which type of accents Chopin had in mind. The signs in A, particularly the second, are clearly shorter than these in the R.H., yet in all analogous figures in bars 7, 15 and 27-28 A displays long accents. category imprint: Graphic ambiguousness issues: Long accents |
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b. 69-70
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composition: Op. 10 No 5, Etude in G♭ major
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According to us, both the accents of A and the clearly longer category imprint: Graphic ambiguousness issues: Long accents |
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b. 73-74
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composition: Op. 10 No 5, Etude in G♭ major
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Two long accents in FE (→GE1→GE1a) were certainly added by Chopin. They confirm the way in which Chopin understood all signs written with the first appearance of this phrase (bars 69-70). All subsequent versions are undoubtedly a result of inaccuracy or revision. We suggest to add the accent in the 2nd half of bar 74, as it seems highly unlikely that Chopin would want the last motif to be performed in a different way. category imprint: Differences between sources; Editorial revisions issues: Long accents , EE revisions , Inaccuracies in GE , Inaccuracies in FE , Errors in EE , GE revisions , Authentic corrections of FE |
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b. 75-76
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composition: Op. 10 No 5, Etude in G♭ major
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The long accents visible in A were interpreted in FE as a category imprint: Differences between sources issues: Long accents , EE revisions , Inaccuracies in FE , GE revisions |
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