Articulation, Accents, Hairpins
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b. 8-16
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composition: Op. 22, Andante spianato
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We reproduce the accents in b. 8, 11 and 16 as long ones, although the marks in FE cannot be unequivocally classified as long or short accents (however, they are clearly longer than the accents in b. 52 or 55-62). Long accents are strongly supported by the musical context: the accentuated e3 in b. 8 is the longest and top-most note of the 8-bar phrase, while the syncopated c3 in b. 11 is a similar type of climax of the final melodic section of this phrase. We encounter a similar problem in the evaluation of the accents in GE1: it is only the clearly shorter marks in b. 52 (as well as a greater number thereof in the Polonaise) that convince us to consider them long. The marks in EE and GE2 (→GE3) must be short. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in GE , EE inaccuracies |
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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. 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 |
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b. 19
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composition: Op. 22, Andante spianato
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The change of the wedge to a dot is a manifestation of a sui generis aversion of the engravers of GE to wedges, which were replaced with dots or omitted on a number of occasions (e.g. in b. 52 and in many places in the Polonaise). category imprint: Differences between sources issues: GE revisions |
mark already at the end of this bar, slightly earlier than in the sources.
in 
& > in 
