Articulation, Accents, Hairpins
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b. 8
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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No accents in GC (→GE) is almost certainly an oversight of the copyist, who overlooked all signs between the staves in bars 7-13. The length of the 1st accent is confirmed by the notation of FE in bar 196, being a repetition of bar 8, and clearly longer signs in similar bar 28. category imprint: Differences between sources issues: Long accents , Inaccuracies in FE , Errors of GC |
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b. 9-10
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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No category imprint: Differences between sources issues: Errors of GC |
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b. 11-12
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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No accents in GC (→GE) is almost certainly an oversight of the copyist, who overlooked all signs between the staves in bars 7-13. The short accents in EE are certainly a result of the standard interpretation of the notation of FE. category imprint: Interpretations within context; Differences between sources issues: Long accents , EE inaccuracies , Errors of GC |
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b. 21-25
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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The articulation signs – dots and accents – in bar 21 could have been added in GC (→GE) by Chopin. They are probably to be considered to be valid also in the subsequent similar bars, namely 23 and 25-27. The idea was partially implemented in EE, in which the same indications were added in bars 21, 23 and 25, which can be ascribed to Chopin's intervention in the base text to this edition. See also bars 210-213. category imprint: Differences between sources issues: Authentic corrections in GC , Authentic corrections of EE |
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b. 22-24
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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With respect to the articulation signs in adjacent bars 21, 23 and 25 (compatible with bars 1, 3 and 5), the absence of wedges in bars 22 and 24 could erroneously suggest a different performance than in bars 2 and 4. category imprint: Editorial revisions |
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