Articulation, Accents, Hairpins
b. 55
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composition: Op. 24 No. 1, Mazurka in G minor
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The allocation of the accent to one hand does not result from the notation of A. In GE (→FE) it was clearly assigned to the left hand. The notation of EE seems to be closer to A. category imprint: Differences between sources |
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b. 56
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composition: Op. 24 No. 1, Mazurka in G minor
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There is no certainty regarding the type of accent used by Chopin in A. The editions have a short accent. here. category imprint: Graphic ambiguousness issues: Long accents |
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b. 57
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composition: Op. 24 No. 1, Mazurka in G minor category imprint: Editorial revisions |
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b. 58-59
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composition: Op. 24 No. 1, Mazurka in G minor
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In the main text, we give a single mark. In Chopin's times, dividing the dynamic hairpins at line break was not yet in systematic use - both Chopin and his editors sometimes reverted to the old notation in which two consecutive (or ) marks at line break could mean one longer dynamic change. category imprint: Interpretations within context; Differences between sources issues: GE revisions |
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b. 59
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composition: Op. 24 No. 1, Mazurka in G minor
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It is not certain what type of accent Chopin had in mind when writing A. Comparison with analogous bars 11 and 51 speaks in favour of a long accent. GE (→FE→EE) all have the short accent. Doubts also appear when we examine the versions of FED and FES, where we cannot be sure whether the accent is still valid for the fragmented melody and if so, whether it should be linked with the note f2 or with the 3rd beat.
category imprint: Differences between sources issues: Long accents |