Articulation, Accents, Hairpins
b. 55-56
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The hairpin in GC (→GE) could have been added by Chopin. The sign was repeated – inaccurately – in EE2. category imprint: Differences between sources issues: Authentic corrections in GC |
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b. 64
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The absence of this mark is most probably an oversight of the copyist, repeated in GE. It is also the notation of the slur in this bar (the adjacent note) that is linked to it. category imprint: Differences between sources issues: Errors of GC |
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b. 65
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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As in bar 49, the absence of the arpeggio sign in GC (→GE) is presumably an oversight by the copyist. category imprint: Differences between sources issues: Inaccuracies in GC |
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b. 78
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composition: Op. 35, Sonata in B♭ minor, Mvt I category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections in GC |
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b. 80
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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Each of the three source versions of the range of the sign may correspond to Chopin's intention. According to us, the sign has a nature of a long accent, emphasising both the dynamic relation of the delay of d2 and its resolution c2. Therefore, in the main text we give a sign on the basis of FE, which presents this double sense in the clearest manner. The absence of a hairpin in GE is certainly a result of an oversight (cf. the note on the tie). category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Scope of dynamic hairpins , Errors in GE |