Articulation, Accents, Hairpins
b. 29
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composition: Op. 10 No 7, Etude in C major
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The long accent of considerable size over f1, written in A, was reproduced in FE (→GE,EE) as a mark and referring rather to the R.H. In FED Chopin clearly indicated that he wanted to accentuate f1. category imprint: Interpretations within context; Differences between sources issues: Long accents , Annotations in teaching copies , Annotations in FED |
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b. 32
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composition: Op. 10 No 7, Etude in C major
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The assignment of the accents either to the right or left hand is unclear in A. According to us, the signs refer to the L.H., as in bar 29. In GE3 (→GE4), the 2nd sign was shortened to the form of a common accent. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , Inaccuracies in FE |
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b. 35
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composition: Op. 10 No 7, Etude in C major
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In the main text we do not consider the mark, written in A under the part of the L.H. The mark was omitted in FE (→GE,EE), probably by mistake, yet Chopin added a long accent over the a quaver in a proofreading of FE, which, according to us, should be treated as a replacement of the hairpins of A. category imprint: Interpretations within context; Differences between sources issues: Long accents , Inaccuracies in FE |
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b. 35
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composition: Op. 10 No 7, Etude in C major
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The long accent was added by Chopin in a proofreading of FE (→GE,EE). However, the mark was printed under the part of the R.H., which is almost certainly a misunderstanding. category imprint: Interpretations within context; Differences between sources issues: Long accents , Authentic corrections of FE |
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b. 37
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composition: Op. 10 No 7, Etude in C major
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Omission of the hairpins in FE (→GE,EE3) is certainly an error of the engraver. The sign of A appears also in two analogous places (bars 4 and 12). The hairpins in EE4 were added probably on the basis of the comparison with these bars. category imprint: Differences between sources issues: EE revisions , Errors in FE |