Articulation, Accents, Hairpins
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b. 19
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composition: Op. 10 No 7, Etude in C major
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According to us, lack of dynamic indications in this place may have been a result of Chopin's distraction, as similar motifs were equally marked both earlier (bar 17) and later (bars 21 and 23). category imprint: Editorial revisions |
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b. 20
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composition: Op. 10 No 7, Etude in C major
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It is hard to determine whether omitting the category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 21
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composition: Op. 10 No 7, Etude in C major
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Lack of the staccato dot under the 1st quaver in A (→FE→EE) must be considered as an oversight – cf. bar 23. The mark was added in GE. category imprint: Differences between sources issues: GE revisions |
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b. 21
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composition: Op. 10 No 7, Etude in C major
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The missing pair of dynamic hairpins is probably a result of distraction of the engraver of FE (→GE,EE). category imprint: Differences between sources issues: Errors in FE |
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b. 22
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composition: Op. 10 No 7, Etude in C major
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The notation of A (and EE) may raise some doubts, as the G quaver is at the same time extended with a rhythmic dot and shortened with a staccato dot. According to us, the dot, which in A seems to be a staccato mark, actually is not an element of the notation at all, yet one of small ink spills, which are numerous in A. Due to this fact, we do not include it in the main text. An additional argument against performing the bass note staccato is lack of pedalling in this bar – in adjacent bars the staccato marked bass notes resound with pedal. Omission of the staccato dot in GE may be linked to the lack of the dot extending G in FE – the reviser of GE could have assumed that the dot was misplaced. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in GE |
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