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b. 17
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composition: Op. 22, Andante spianato
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Due to the reasons discussed at the beginning of the next bar, in the main text we begin the category imprint: Editorial revisions |
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b. 17
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composition: Op. 22, Andante spianato
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In the main text we keep the notation of FE (→EE); however, it cannot be ruled out that it is GE1 that guessed Chopin's intention correctly. The engraver of FE could have shortened the slur due to the collision with the word loco, ending the octave sign. On the other hand, the slurs in the remaining runs also reach only the last of the group of small quavers. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions |
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b. 17
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composition: Op. 22, Andante spianato
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The change of the written-down rhythmic values of the run was an arbitrary decision of the publisher, who could have taken into account the theoretical speed of performance: in this bar it is 14 notes that fall on 4 semiquavers, whereas in b. 41 and 49, 11 and 10, respectively. category imprint: Differences between sources issues: EE revisions |
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b. 18
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composition: Op. 22, Andante spianato
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The position of the reversed long accent seems to be inaccurate in FE, if we take into account similar marks in analogous b. 49-52. Due to the above reason, in the main text we begin that mark already in the previous bar in order to emphasise its relation to the motif of the ascending second, generally accompanied by reversed accents (cf. the Concerto in E Minor, Op. 11, II mov., b. 29). The version of EE is an arbitrary attempt at interpreting that mark as a crescendo, probably referring to the L.H. category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 19-20
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composition: Op. 22, Andante spianato
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We adopt accents of different length as the text of FE, since the mark in b. 20 is slightly longer. According to us, however, the mark in b. 20 may be interpreted differently, which would allow us to keep the long accent in b. 19 (that accent does not differ from the other marks that we reproduce as long accents). We consider both possibilities of interpretation of the notation of FE to be equivalent; in the main text we suggest the one without the musically questionable accent on the last note of the phrase. The versions of the remaining editions are a result of unifications and other arbitrary revisions. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Long accents , EE inaccuracies |
mark already at the end of this bar, slightly earlier than in the sources.
in 
& > in 