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Op. 10 No 5, Etude in G♭ major

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 72

composition: Op. 10 No 5, Etude in G♭ major

Accent in A (→FE,GE) & EE3 (→EE4)

No mark in EE2
..

The accent, omitted in EE2, was added in EE3 (→EE4).

category imprint: Differences between sources

issues: EE revisions , Errors in EE

b. 73-74

composition: Op. 10 No 5, Etude in G♭ major

No marks in A & EE2

Two long accents in FE (→GE1→GE1a)

Two short accents in GE2 (→GE3)

Three short accemts in GE4 (→GE5)

Four accents in EE3 (→EE4)

Three long accents proposed by the editors
..

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

b. 75-76

composition: Op. 10 No 5, Etude in G♭ major

Long accents in A & EE

 & accent in FE

Short accents in GE
..

The long accents visible in A were interpreted in FE as a  sign and a short accent, taking into account only their size. Both in GE and in EE the signs were unified: GE has two short accents, EE – long.  

category imprint: Differences between sources

issues: Long accents , EE revisions , Inaccuracies in FE , GE revisions

b. 79-80

composition: Op. 10 No 5, Etude in G♭ major

No marks in A

Accents in FE (→GE,EE)
..

All articulation indications and accents in bars 79-84 were added by Chopin in a proofreading of FE (→EE). However, the attention is drawn by the fact that the slurs were introduced in the entire four-bar section, yet the accents appear only in bars 79-80. It is unclear whether it is a result of distraction (Chopin's or the engraver's) or a conscious decision of the composer, which, after all, does not have to indicate a change in the performance manner, as the accents in bars 79-80 may be interpreted as a model valid until the end of bar 82. 

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 83-84

composition: Op. 10 No 5, Etude in G♭ major

No marks in A

Dots in FE (→GE,EE)
..

All staccato dots were added by Chopin at the time of proofreading FE (→GE,EE).

category imprint: Differences between sources

issues: Authentic corrections of FE