Articulation, Accents, Hairpins
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b. 26-28
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composition: Op. 25 No 12, Etude in C minor
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Same as in bar 24, in the main text we give long accents, written most probably by Chopin in FC. The missing first sign in bar 28 is certainly an oversight, corrected in GE2 (→GE3). category imprint: Interpretations within context; Differences between sources issues: GE revisions , Authentic corrections of FC |
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b. 29-32
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composition: Op. 25 No 12, Etude in C minor
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In these bars, placing the accents at the beginning of the passages between the notes is impeded, as it would be necessary for them to be placed in the area of ledger lines, which would hinder the legibility of the text. In FC and FE, which most probably faithfully convey the notation of [A], such notation is to be seen only in bars 29 and 32, Chopin placed the remaining accents over the notes. The latter was adopted in GE and EE2 in all the discussed bars, whereas in EE1 (→EE2) in four out of the five cases. In the main text, in order to underline that the accents refer to the notes performed by the both hands, we suggest double accents (cf. bars 13-14). The notation could have been used by Chopin in bar 46. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 41-42
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composition: Op. 25 No 12, Etude in C minor
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All source notations certainly mean the same – an accent referring to both notes struck in the middle of the bar. In the main text we adopt the version with two accents – see bars 13-14. category imprint: Editorial revisions issues: EE revisions , GE revisions |
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b. 43-44
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composition: Op. 25 No 12, Etude in C minor
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Same as in the previous two bars, all source notations certainly mean the same – an accent referring to both notes on the 9th semiquaver of the bar. Marking it with a pair of accents could have been introduced into the base text to EE by Chopin, although additions of single accents by the editor also seem to be likely. category imprint: Differences between sources issues: GE revisions |
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b. 45-46
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composition: Op. 25 No 12, Etude in C minor
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In these bars Chopin was also looking for a deft way of marking the accents referring simultaneously to the parts of both hands (cf. bars 29-32 and 41-44). In the main text, in both texts we adopt pairs of accents used in FE – most probably by Chopin – in the 2nd half of bar 46. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
