Articulation, Accents, Hairpins
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b. 38
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composition: Op. 26 No 1, Polonaise in C♯ minor
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It is hard to state why the category imprint: Differences between sources issues: GE revisions |
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b. 42
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composition: Op. 26 No 1, Polonaise in C♯ minor
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In the main text we keep the beginning of the hairpins in accordance with Chopin notation in A. In all editions the hairpins start already under the 1st note of this bar. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
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b. 44
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composition: Op. 26 No 1, Polonaise in C♯ minor
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In A Chopin undoubtedly wrote a staccato dot over the 1st quaver in the R.H. The sign was most probably overlooked by the engravers of FE and by Chopin in the proofreading. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
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b. 44
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composition: Op. 26 No 1, Polonaise in C♯ minor
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The undoubtedly long accent, written by Chopin in A, was overlooked by the engraver of FE. In GE2 (→GE3→GE4→GE5) a short accent was added, most probably after analogous notation in bar 76. category imprint: Differences between sources issues: Errors in FE , Errors in EE , Errors in GE |
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b. 44
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composition: Op. 26 No 1, Polonaise in C♯ minor
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In FE (→EE) there is no staccato dot for the 2nd quaver in the bottom voice of the R.H., in spite of its presence in A. It is a patent oversight of the engraver. In turn, in GE1 the engraver did not include staccato signs for the bottom voice at all. The mistake was not corrected in the subsequent editions. category imprint: Differences between sources issues: Errors in FE , Errors in EE , Errors in GE |
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