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. 429

Long accent in A, probable interpretation

 in A (possible interpretation→GEFEEE)

In bars 429 and 431 the part of the R.H. is almost identical, while the beginning of the descending passage was provided with a similar mark in both bars; it could be interpreted as a long accent or a  hairpin. If we were to take into account the identical structure, using the same mark in both bars seems to be justified, since the difference in the length may be considered an inaccuracy of the notation. However, a more profound analysis of the course of music reveals a different function of these bars:

  • in bar 429 the part of the R.H. opens a four-bar sequence of passages, yet the part of the L.H. is still an element closing the two-bar cadence;
  • bar 431 only reaffirms the already shaped model of figuration from the previous two bars, both in the R.H. and in the L.H.

Therefore, the use of different marks – an accent in bar 429 and a  in bar 431 – could have also been compliant with the Chopinesque vision of performing these bars.

Compare the passage in the sources »

category imprint: Graphic ambiguousness

issues: Long accents

notation: Articulation, Accents, Hairpins

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Original in: Bibliothèque Nationale de France, Paris