FE1
Main text
½A - Semi-autograph
A - Autograph of the piano part
Morch - Manuscript of the orchestra part
GE - German edition
GE1 - First German edition
GE1a - Retouched impression of GE1
GE2 - Second German edition
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE1
EE3 - Corrected impression of EE2
compare
  b. 300

Long accent in A

 in GE1

 in FE (→EE)

 in GE2

The change of the nature of the sign performed in GE1 requires a careful examination. The sign written in A, although very big as for an accent (even long), clearly applies only to one chord, which determines its meaning (the atypical size of the sign is proportional to the amount of space Chopin had to fill with two crotchets of the 2nd half of the bar). However, the engraver of GE1 could have assumed that a sign of such a size must be a diminuendo and upon seeing the beginning of the sign having been written clearly before the first chord, he started  a crotchet before that chord. In this scenario, the only authentic sign is the long accent in A.

On the other hand, Chopin proofread GE1, hence this kind of an unobvious change could have been introduced by him. A few observations seem to confirm that possibility:

  • Dynamic markings in the recapitulation are very sparse in A – from the entrance of the soloist in bar 268 to  in bar 299 there are no dynamic indications except  or  hairpins. In the next bars there are also no indications of this kind until dolce in bar 311. What is more, in the second section even the hairpin appears only twice ( in bars 303 and 305), which, together with the abundance of accents, suggests an entirely loud, turbulent and raging music. Of course, the absence of indications does not have to correspond to the absence of changes, yet the addition of a  hairpin in the discussed bar 300 seems to be justified in this context, which at the same time increases the chances of authenticity of this sign.
  • The change of the accent to  is accompanied by the change of slurring, which may be regarded as coincident with diminuendo. A longer slur suggests a smoother and calmer performance of the final section of the semiquaver passage.
  • The absence of the  sign can be related to a gradual extinction of the sound (e.g. in the Waltz in C minor, Op. 64 No. 2, bars 15-16), which also coincides with the  indication.

In the main text we give the accent of A as the undoubtedly authentic sign. The  hairpin in GE1 may be considered to be a potentially authentic, equal variant. Variants of this sign in the remaining editions are a result of either inaccuracies as in the case of FE (→EE) or revisions (GE2).

Compare the passage in the sources »

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Long accents, Inaccuracies in FE, Authentic corrections of GE

notation: Articulation, Accents, Hairpins

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Original in: Bibliothèque Nationale de France, Paris