FES
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. 53

Long & short accent according to A

Idem, R.H. only

2 short accents in GE (→contextual interpretation of FE)

No marks after FE (literal reading→EE1EE2)

2 vertical accents according to EE3

The notation of the accents in the 1st half of the bar is not entirely clear. In A the first accent has arms of different length, so that it is uncertain whether a long or short sign is to be considered here. The analogy with similar motifs at the beginning of bars 48-49 and 54-55 encourage us to consider it a long accent (our main text). On the other hand, none of the aforementioned bars includes an accent on the 2nd beat, which undermines the power of this analogy.
In addition, the aim of providing the 2nd crotchet with two accents is also unclear, which was not included in GE (→FEEE1EE2). Moreover, in the majority of the editions, both accents were assigned to the L.H., which is most probably a result of inaccuracy of the engraver of GE1 (corrected in GE2, where the accents were placed in the middle between the staves). The changes of font and number of accents introduced in EE are certainly inauthentic.

If the version with harmonic accompaniment was chosen in the previous note, one of the versions without accents for the L.H. (second or sixth) is to be selected here.

Compare the passage in the sources »

category imprint: Differences between sources

issues: EE revisions, Inaccuracies in GE, GE revisions

notation: Articulation, Accents, Hairpins

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