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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.
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category imprint: Interpretations within context; Editorial revisions
issues: Long accents
notation: Articulation, Accents, Hairpins