Issues : Long accents
b. 114-116
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composition: Op. 21, Concerto in F minor, Mvt III
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The long accents in bars 114 and 116, perfectly reproduced in GE, are not equally legible in FE, although the difference with respect to the short accents in bar 118 is clear. In EE they were considered common, short accents. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in FE , EE inaccuracies |
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b. 205
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composition: Op. 21, Concerto in F minor, Mvt III
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The sign under the 1st triplet in the R.H. is to be interpreted as a long accent, according to us. In the editions it was extended to the middle of the last triplet, which suggests performing the first part of this sequence diminuendo, certainly contrary to Chopin's intention. In A one can see a deletion of the long accent over the part of the R.H. in this place. Similarly, in bar 207. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Long accents , Inaccuracies in GE , Corrections in A , GE revisions |
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b. 207-208
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composition: Op. 21, Concerto in F minor, Mvt III
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The change of the clearly long accents in A to short ones is certainly a result of an inaccuracy of GE (→FE→EE). The sign in bar 207 was initially written over the top stave in A, and then deleted and replaced with an accent between the parts of both hands. category imprint: Differences between sources; Corrections & alterations issues: Long accents , Inaccuracies in GE , Corrections in A |
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b. 214-216
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composition: Op. 21, Concerto in F minor, Mvt III
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The signs under the chords in the L.H. in bars 214 and 216 in A are typical long accents. In GE (→FE→EE) the first of them was reproduced as a short accent, whereas the second one as a . In GE2 the latter was shortened – most probably after A – so it can be considered a long accent. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , GE revisions |
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b. 218
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composition: Op. 21, Concerto in F minor, Mvt III
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According to us, it is unclear whether the bar is to be considered analogous to bars 214 and 216 or to 219 and 220. In the first case, the sign written in A under the chord in the L.H. is to be considered a long accent; we assume this interpretation, resulting from the structure of the phrases in the R.H., in the main text. In the second case, the sign would be a diminuendo (), which, both here and in the next bars, has a function of an accent. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |