Articulation, Accents, Hairpins
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b. 73-75
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composition: Op. 22, Andante spianato
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Due to a possible presence of long accents in b. 67 and 70 in FE, we interpret the remaining marks in this section as short accents. We interpret all accents in GE1 as long, just like before. Here and in the entire Semplice EE and later GE include short accents only. The missing bottom accent in b. 75 in EE1 is probably a revision, withdrawn in EE2. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
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b. 77
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composition: Op. 22, Andante spianato
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The missing accent in the sources is most probably a mistake: the mark is present in analogous b. 89, while a moment of distraction (of the engraver of FE or of Chopin himself) is indicated by the overlooked slur in the previous bar. We suggest two variants of the addition, compliant with the general doubt concerning the length of the accents in the Semplice section. category imprint: Editorial revisions |
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b. 78
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composition: Op. 22, Andante spianato
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In accordance with the adopted assumptions concerning the interpretation of the accents in Andante, we reproduce the marks on the 2nd beat of the bar as short in FE (→EE) and long in GE. Both versions can be considered equal. There is a similar situation in b. 90. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
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b. 80-93
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composition: Op. 22, Andante spianato
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In the main text we give the accents in b. 80, 81, 84, 92 and 93 as short ones in accordance with the analysis of the notation of FE in b. 67-72. We may consider the notation of GE1, in which we interpret the respective marks as long accents, to be an equivalent variant. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
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b. 83-95
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composition: Op. 22, Andante spianato
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The accents added in EE in b. 83 and 95 may be considered justified: all the remaining, similar motifs (9) are accented, hence there is a possibility that the marks were overlooked. However, we do not suggest a corresponding addition in the main text, since both mentioned bars stand out due to the presence of a triplet on the 1st beat of the bar, which could have somehow changed the Chopinesque hearing of the energy of these bars. category imprint: Differences between sources issues: EE revisions |
