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Issues : Long accents
b. 4-12
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composition: Op. 10 No 5, Etude in G♭ major
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We consider the marks written in A under the chords in bars 4 and 12 as long accents. Only first of them was reproduced in FE (→EE2). In GE the sign in bar 4 became a common short accent and in bar 12 both chords were provided with staccato dots. In EE3 (→EE4) a short accent was added in bar 12. According to us, only the version of A is authentic. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE , Inaccuracies in FE , GE revisions |
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b. 7
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composition: Op. 10 No 5, Etude in G♭ major
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EE2 does not have the accent added in EE3 (→EE4) together with staccato dots under the quavers (probably by analogy with bar 15). In GE a short accent was applied and moved over the crotchet. In the main text we preserve the notation of A (→FE). category imprint: Differences between sources issues: Long accents , EE revisions , Placement of markings , Errors in EE , GE revisions |
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b. 15
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composition: Op. 10 No 5, Etude in G♭ major
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The staccato dots under the quavers were added by Chopin while proofreading FE (→GE,EE). In GE a short accent was applied, moreover, in GE1 (→GE1a) and again in GE5 the mark was moved over the crotchet. category imprint: Differences between sources; Corrections & alterations issues: Long accents , Placement of markings , GE revisions , 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 In A the b
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. 48
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composition: Op. 10 No 5, Etude in G♭ major
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According to us, the category imprint: Interpretations within context; Differences between sources issues: Long accents , Inaccuracies in FE , Authentic corrections of FE |