Articulation, Accents, Hairpins
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b. 78
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composition: Op. 25 No 10, Etude in B minor
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The accent was most probably added by Chopin at the time of proofreading FE. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 79
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composition: Op. 25 No 10, Etude in B minor
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According to us, regardless of how the difference occurred (in the sources there are no clear traces of possible corrections in this regard), omission of the hairpins in FE was a conscious and final decision of Chopin. In Chopin notation, this kind of sign emphasises the note or group of notes, which in this case would suggest beginning the phrase of the middle voice together with the return of the main thematic link in this part, contrary to the later, consistent markings of FE. category imprint: Differences between sources issues: GE revisions |
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b. 87
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composition: Op. 25 No 10, Etude in B minor
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In the main text we suggest adding an accent after the previous analogous bars, in which Chopin included it in all (bar 47) or certain sources (GC in bar 67). category imprint: Editorial revisions |
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b. 107-108
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composition: Op. 25 No 10, Etude in B minor
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Same as in bars 5-6, stating which kind of accents Chopin had on his mind poses a difficult challenge. In GC, FE and EE the last accent in bar 108 is clearly shorter than the previous (and next) and this is the version we give in the main text. The harmonised notation of GE1 and GE2 (→GE3) may be, however, considered as justified alternative versions of these signs. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , GE revisions |
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