While proofreading FE (→GE,EE), Chopin simplified the accentuation scheme of bars 1-8, homogenising bars 1-4, with accents on every second quaver in A, with bars 5-8, with accents on every third quaver. At the same time, he generally reduced the number of accents, leaving only two in each bar (on every sixth quaver). The change transfers the accentuation from the mostly technical level to the phrasing area – the majority of non-removed accents underlines the melodic line's turning points.
In a few places the result of a proofreading is uncertain, as some of the accents, which give grounds for suspecting their removal or an intention to do so, are still visible. This phenomenon intensifies together with the progressive wear of the plates on which the musical text was engraved, yet the accents over the 8th quaver in bar 4 (g1-f
2) and the 1st quaver in bar 8 (g2) are clearly visible even in FE1. According to us, additional accents remained there probably due to the engraver's inaccuracy, however, we discuss these places separately. In bars 5-7 the accents in GE are irregularly placed, which is probably a result of the engraver's mistakes.
Chopin introduced analogous changes also in bars 17-20.
An undeniable, group change of the accents' layout was introduced in a proofreading of FE – at Chopin's request – also in the Etude in C major, No. 7, bars 54-55.
Compare the passage in the sources »
category imprint: Differences between sources
issues: Authentic corrections of FE
notation: Articulation, Accents, Hairpins