Articulation, Accents, Hairpins
b. 8
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composition: Op. 25 No 11, Etude in A minor
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The range and placement of the sign in EE may be authentic. In turn, the gradually extended hairpins in GE are certainly a result of routine action of the engraver or reviser of this edition. Lack of the sign in FE is probably Chopin's oversight – see the note on dim. category imprint: Differences between sources issues: EE revisions , GE revisions |
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b. 10
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composition: Op. 25 No 11, Etude in A minor
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The long accent was probably overlooked in GC (→GE). Similarly in analogous bar 74, in which, however, the sign is present only in EE. category imprint: Differences between sources issues: Errors of GC |
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b. 12
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composition: Op. 25 No 11, Etude in A minor
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The wedge in GC, confirmed by EE, was reproduced in GE as a staccato dot. Therefore, the evaluation of the authenticity of the dot in FE also advises caution. The tendency to interpret wedges as dots was very clear in the B&H publishing houses – cf., e.g., the Nocturne in D major, Op. 27 No. 2, bar 12 or the Scherzo in C minor, Op. 39, bar 18. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , Wedges |
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b. 16
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composition: Op. 25 No 11, Etude in A minor
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In the main text we give the hairpins in accordance with the Chopin entry in GC (→GE1). The composer was forced to correct the sign, written by the copyist an entire beat too far. category imprint: Differences between sources issues: Authentic corrections in GC |
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b. 20-22
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composition: Op. 25 No 11, Etude in A minor
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GE added staccato dots at the beginning of bars 20 and 22 – both in GE1, only the second one in GE2 (→GE3). category imprint: Differences between sources issues: GE revisions |