Articulation, Accents, Hairpins
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b. 34
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composition: Op. 10 No 4, Etude in C♯ minor
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According to us, the dot in FE (→GE,EE) does not give certainty as to which sign Chopin used to mark staccato in [A]. The Etudes and other pieces provide numerous examples of inaccurate interpretation of Chopin wedges. category imprint: Differences between sources issues: Wedges |
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b. 35-36
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composition: Op. 10 No 4, Etude in C♯ minor
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The accents, written in AI only in bar 35, most probably are to be considered as a model. It is confirmed by seven signs visible in FE (→GE,EE). The signs in FE (→EE), despite varied length and imprecise arrangement, are certainly long accents. In turn, it is not clear in GE, in which there is a visible tendency to extend the signs. category imprint: Differences between sources issues: Long accents |
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b. 35
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composition: Op. 10 No 4, Etude in C♯ minor
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Lack of the wedge in EE2 is certainly a mistake. The wedge in the L.H. is most probably a revision of GE and EE3 (→EE4). category imprint: Differences between sources issues: Errors in EE , GE revisions |
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b. 37-38
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composition: Op. 10 No 4, Etude in C♯ minor
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Lack of accents in AI is only a simplification of notation – the accents from bar 33 most probably are valid also here. Cf. bar 34. category imprint: Differences between sources; Corrections & alterations |
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b. 38
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composition: Op. 10 No 4, Etude in C♯ minor
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It is hard to assume that the omission of the crescendo mark or verbal indication was intended here by Chopin – cf. the analogous phrase in bars 33-34. Therefore, in the main text we suggest the category imprint: Differences between sources issues: Inaccuracies in FE |
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