Articulation, Accents, Hairpins
b. 93
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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It is not certain whether the dot, visible in GC near the bottom note of the 1st octave in the bar, is a staccato dot or an insignificant ink fleck. The sign is absent in all other sources, which, however, cannot be considered to be a conclusive argument. In the main text we include the dot, as the staccato articulation results here in a natural way from the piano texture, as well as due to the similarly marked chord at the beginning of bar 91. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE |
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b. 93
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The absence of the wedge in GE is certainly a mistake. category imprint: Differences between sources issues: Errors in GE |
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b. 100-103
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The absence of the hairpins (denoting long accents, which is obvious particularly in the notation of bar 101 in GC) is best attributed to the engraver's distraction. The signs were added in GE2. See also the note on in bars 97-101. category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 109
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The hairpin in GC (→GE) must be authentic (it could have been added by Chopin). In the main text we give it in brackets, as Chopin did not add the sign both in the subsequent FE and in the base text to EE, despite proofreading, e.g. the slurs in this place. Therefore, the absence of could have been accepted as emphasising a mild echo effect in bars 109-110. category imprint: Differences between sources |
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b. 113-115
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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No hairpin is certainly an oversight of the engraver of GE1, unnoticed in GE2 as well. In the main text we give the range of the sign according to GC, in which it starts from the beginning of the motif. category imprint: Differences between sources issues: Errors in GE |