Issues : Long accents
b. 429
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composition: Op. 21, Concerto in F minor, Mvt III
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It is unclear whether Chopin had a long accent in mind, emphasising the last chord of the cadence, or a short , related to the passage opening the four-bar, wavy sequence. In the main text we favour the first interpretation. category imprint: Graphic ambiguousness issues: Long accents |
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b. 431
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composition: Op. 21, Concerto in F minor, Mvt III
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The mark placed at the beginning of this bar in A may be interpreted as a long accent, after bar 429, or as a , like in bars 477 and 479, similar in terms of structure. In the main text we include the latter option, in accordance with the way in which the sign was reproduced in GE. The absence of the sign in the remaining editions is most probably a result of an oversight. category imprint: Graphic ambiguousness issues: Long accents |
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b. 433-438
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composition: Op. 21, Concerto in F minor, Mvt III
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The shape of the accents in A, which are not very big, is generally typical of long accents (except for the sign in bar 437). However, in this case, it is understandable that the editions reproduced them as short accents. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE |
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b. 439
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composition: Op. 21, Concerto in F minor, Mvt III
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The accent in A may be interpreted as both short and long. According to us, the use of a short accent is more likely – the top, shorter arm, written first, seems to convey Chopin's intention better. However, the sign was interpreted in such a way only in GE2. category imprint: Differences between sources issues: Long accents , GE revisions |
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b. 455-456
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composition: Op. 21, Concerto in F minor, Mvt III
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The notation of the three subsequent accents is unambiguous in A – they are 3 long accents. In spite of this, GE reproduced them as short accents, whereas in FE (→EE) the third of them was overlooked. category imprint: Differences between sources issues: Long accents , Errors in FE , Inaccuracies in GE |