Articulation, Accents, Hairpins
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b. 27-28
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composition: Op. 10 No 4, Etude in C♯ minor
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Lack of accents in bar 27 in GE may be a result of an oversight or indicate to their addition in the last proofreading of FE (→EE). Four accents in bar 28 are clearly longer in GE1 (→GE1a) than in the remaining editions, see also the note to bars 29-30. category imprint: Differences between sources issues: Long accents , Errors in GE , Authentic corrections of FE |
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b. 29-30
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composition: Op. 10 No 4, Etude in C♯ minor
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The accents in bar 29 are clearly longer in #A than in bars 27-28 and 30. In GE1 (→GE1a), such longer accents were used in both discussed bars. The erroneous reproduction of the short accents of the autograph as long would not take place at all and it seems unlikely that Chopin would have liked to differentiate between the accents in these two bars. Taking into account the above, in the main text we give eight long accents. category imprint: Interpretations within context; Differences between sources issues: Long accents , GE revisions , EE inaccuracies |
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b. 31-32
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composition: Op. 10 No 4, Etude in C♯ minor
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The type of accents written in AI under the semiquavers in the R.H. is not clear. Several clearly longer signs previously visible on this page of the manuscript allow to consider short accents to be more plausible. The accents in FE (→GE,EE) – separately for the L.H. and over the crotchets in the right hand – are short, yet, according to us, the mere fact of separating the accents may mean that Chopin wanted to differentiate between their quality. category imprint: Interpretations within context; Differences between sources issues: Long accents |
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b. 33-34
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composition: Op. 10 No 4, Etude in C♯ minor
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In AI, the accents over the chords in these bars are undoubtedly long and this is the notation we adopt to the main text. FE has short accents (only the third one could be possibly considered as long), which seems to be less convincing, as far as the music is concerned, and probably results from an incomplete understanding of [A]. The accents in the remaining editions were subject to further modifications, most probably accidental. category imprint: Interpretations within context; Differences between sources issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
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b. 34
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composition: Op. 10 No 4, Etude in C♯ minor
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Lack of the accents must be considered here as an inaccuracy of notation – the accents are in the previous bar and in bars 37-38. category imprint: Editorial revisions |
