Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
(Op. 4), Sonata in C minor
Op. 24 No. 1, Mazurka in G minor
In Chopin's times, two consecutive hairpins 
visible in A (→GE1→FE→EE) could mean either two crescendos or a single longer dynamic change. The contemporary convention in which the broken hairpins are used for the second option was already known, yet it had not completely replaced the older type of notation. In this case, the notation of the marking in bar 59 in A very clearly suggests that Chopin intended a continuation, i.e. one crescendo. This is how his notation was interpreted in GE2 (→GE3) and how we give it in our main text.
category imprint: Interpretations within context; Differences between sources
issues: GE revisions
notation: Articulation, Accents, Hairpins
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