Main text
Main text
FC - Fontana's Copy
FE - French edition
FE1 - First French edition
FE2 - Corrected reprint of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Corrected reprint of GE1
GE1b - Flawed impression of GE1
GE2 - Second German edition
GE3 - Revised impression of GE2
EE - English edition
EE1 - First English edition
EE2 - Corrected reprint of EE1
EE3 - Revised impression of EE2
compare
  b. 15-23

Short accents in FC (→GE), FE & EE

Long accents suggested by the editors

In the main text we give long accents over the d1 minims, although the notation of the sources does not suggest it. According to us, it is highly likely that the signs of the autograph were misinterpreted both by the copyist and the engravers:

  • misunderstanding of the idea of Chopin long accents was common among the engravers;
  • generally, Fontana also did not notice the difference between both types of accents in his copies (he most probably considered it an inaccuracy of notation), which can be proved in the pieces in which, apart from the copy, we dispose of the copied autograph – cf. e.g., the Etude in A minor, No. 4, bars 9-10 or Tarantella, Op. 43, bars 164-178;
  • in the autograph of the Concerto in F minor, Op. 21, 3rd mov., bars 433-438, in a similar context Chopin introduced long accents. 

Similarly in bars 24 and 114-121.

Compare the passage in the sources »

category imprint: Interpretations within context; Editorial revisions

issues: Long accents

notation: Articulation, Accents, Hairpins

Go to the music

.