Issues : Long accents
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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 |
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b. 223-226
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composition: Op. 42, Waltz in A♭ major
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Chopin wrote four long accents in FEG (the sign in bar 224 is poorly visible on the accessible photocopy, yet its existence is indicated by the presence of a respective sign in GE1). In GE2 (→GE3) long accents were arbitrarily changed to short. As Chopin did not add accents in FE and EE, in the main text we suggest them in the variant form. category imprint: Differences between sources; Corrections & alterations issues: Long accents , Authentic corrections of GE |
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b. 277-280
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composition: Op. 42, Waltz in A♭ major
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The accents written by Chopin in FEG raise doubts as to the type of the used accent and placement with respect to the bottom and upper stave. In the main text we present the most plausible interpretation of the signs written by Chopin in FEG, according to us. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Authentic corrections of GE , Authentic corrections of EE |
