GE2mar
Main text
GC - Gutmann's Copy
Amar - Autograph fragment of March
FE - French edition
FE1 - First French edition
FE2 - Second impression of FE
FE3 - Third impression of FE
FE4 - Fourth impression of FE
FESch - Scherbatoff Copy
FES - Stirling copy
FED - Dubois copy
FE5 - Second French edition
GE - German edition
GE1 - First German edition
GE2mar - Second German edition of March
GE2 - Corrected impression of GE
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE1
compare
  b. 16

 in GC & GE2mar (→GE2)

 in FE (→EE)

Accent in GE1

It is not clear which of the sources based directly on [A] – GC and FE1 – conveyed the range more accurately and, as a consequence, also the sense of the  hairpin. Both versions have their stylistic advantages and can be convincingly justified, as far as the source aspects are concerned: 

  • The sign in FE clearly emphasises the culminant appogiatura of the melodic line. Chopin could have added it in [A] already after having prepared GC.
  • The sign in GC extends the culmination's release into the entire bar, somehow considering the counterpointing part of the L.H. The sign could have also been added by Chopin, if in [A] there were initially no dynamic signs here.

In the main text we give the  sign according to the base source, i.e. FE. The version of GC can be considered to be an equal variant.

The accent in GE1 is undoubtedly a result of misunderstanding of the notation of GC, which was corrected in GE2mar (→GE2).

Similarly in bars 24, 70 and 78.

Compare the passage in the sources »

category imprint: Interpretations within context; Differences between sources

issues: Long accents, Inaccuracies in GE, Scope of dynamic hairpins, GE revisions

notation: Articulation, Accents, Hairpins

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