Issues : Inaccuracies in GE
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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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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. 29-31
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composition: Op. 22, Andante spianato
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According to us, the accents in FE (→GE1) are to be interpreted as long. In turn, EE and GE2 (→GE3) interpreted them as short. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in GE , EE inaccuracies |
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b. 52
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composition: Op. 22, Andante spianato
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In the main text we begin the slur in accordance with the most likely interpretation of FE (→GE1,EE). However, it is not a guarantee that the interpretation of [A] would have yielded the same result, hence the version of GE2 (→GE3), although being a result of a revision, may be considered a potentially authentic variant. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions |
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b. 55-62
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composition: Op. 22, Andante spianato
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The accents in b. 55-56 and 59-62 are undoubtedly short in FE, such as in b. 52. In spite of that, GE1 gives here bigger accents, such as in the preceding cantilena section, which is probably inadvertence (the second German edition introduced short accents, like in entire Andante). The introduction of vertical accents is a frequent discretion of EE. category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE , GE revisions |
