



Articulation, Accents, Hairpins
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b. 24
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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The category imprint: Interpretations within context; Differences between sources issues: Scope of dynamic hairpins , Errors in GE , GE revisions |
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b. 25-26
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composition: Op. 35, Sonata in B♭ minor, Mvt III
category imprint: Interpretations within context; Differences between sources issues: EE inaccuracies , Authentic corrections of EE |
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b. 28-29
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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In all sources there is an accent under G category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of EE |
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b. 36
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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In Amar g category imprint: Differences between sources; Corrections & alterations |
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b. 45
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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It is not clear whether according to Chopin the sign at the beginning of the bar was supposed to be a long accent, as it can be considered on the basis of GC and GE2, or rather a diminuendo, as it was written in FE (→EE). Taking into account the fact that in each of the cases the sign refers to the R.H., the difference in the performance may be imperceptible. To the main text we adopt an interpretation of the base source, i.e. FE. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Errors in GE , GE revisions |
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