Articulation, Accents, Hairpins
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b. 58-62
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composition: Op. 42, Waltz in A♭ major
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In GE1 (→GE2→GE3) and EE there are no staccato dots under the 2nd crotchet (d category imprint: Differences between sources issues: Inaccuracies in GE , EE inaccuracies |
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b. 65
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composition: Op. 42, Waltz in A♭ major
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EE erroneously omitted the dot extending the c1 minim. category imprint: Differences between sources issues: Errors in EE |
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b. 96
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composition: Op. 42, Waltz in A♭ major
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The accent mark was probably added by Chopin in the base text to EE. category imprint: Differences between sources issues: Authentic corrections of EE |
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b. 104
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composition: Op. 42, Waltz in A♭ major
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It is highly likely that two accents of EE are an editorial revision. The sign, placed in FE0 in the middle of the stave, was interpreted (correctly) as valid for both hands and it was changed to two separate signs, by placing one above the chord in the R.H. and the other one above the chord in the L.H. category imprint: Graphic ambiguousness; Differences between sources issues: EE revisions |
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b. 222
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composition: Op. 42, Waltz in A♭ major
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The accent written by Chopin in FEG does not differ in the size from the next ones, yet in GE1 it was interpreted as short. Perhaps the engraver paid attention to a slightly different shape of the sign; he could have also assumed that an accent would be more suitable over the crotchet, while over the pair of quavers – a short diminuendo (this is how the engravers would treat Chopin long accents). FE and EE also have short accents, however, it does not give certainty – as in the case of GE1 – as to Chopin's intention. Without access to a photography of FEG with higher revolution, not to mention finding the base texts to FE and EE, this issue seems to be impossible to resolve. category imprint: Differences between sources issues: Long accents , Authentic corrections of FE , Authentic corrections of GE , Authentic corrections of EE |
1) in bars 58 and 62. These are almost certainly errors of the engravers. 
