Articulation, Accents, Hairpins
|
b. 35
|
composition: Op. 26 No 2, Polonaise in E♭ minor
..
The accent in A (→FE→GE1,EE) refers undoubtedly to the R.H. GE2 placed it above L.H. part, and gave it the form of a long accent as in the neighbouring bars. In GE3 (→GE4) the sign was omitted. category imprint: Differences between sources issues: Inaccuracies in GE |
|||||
|
b. 35-36
|
composition: Op. 26 No 2, Polonaise in E♭ minor
..
GE2 (→GE3→GE4), analogously to bar 33, added staccato dots to two last L.H. quavers in bar 35, and the first in bar 36. category imprint: Differences between sources issues: GE revisions |
|||||
|
b. 38
|
composition: Op. 26 No 2, Polonaise in E♭ minor
..
GE1 overlooked the category imprint: Differences between sources issues: Errors in GE , GE revisions |
|||||
|
b. 49-50
|
composition: Op. 26 No 2, Polonaise in E♭ minor
..
In FE (→EE,GE1) there are no portato articulation signs over the chords – dots under the slur (the slur starts only in bar 50). It is a result of Chopin's mistake in the abbreviated notation of this bar and simplified correction of this error in FE. category imprint: Differences between sources issues: Inaccuracies in FE , GE revisions |
|||||
|
b. 55-56
|
composition: Op. 26 No 2, Polonaise in E♭ minor
..
In GE the 2nd half of bar 55 and the entire bar 56 are written without staccato dots. As in bars 7-8 it is probably a mistake. Few oversights also occur in EE1 and EE2. category imprint: Differences between sources issues: EE revisions , Errors in EE , Errors in GE |
on the 1st beat of bar 38. The inaccuracy was corrected in the subsequent impressions.
