mUltimate Chopin

Op. 22, Andante spianato

Text Compare Notes Sources Description

Issues : EE inaccuracies

b. 8-16

composition: Op. 22, Andante spianato

Long accents in FE (→GE1), contextual interpretation

Short accents in EE & GE2 (→GE3)
..

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

b. 10-11

composition: Op. 22, Andante spianato

Slur from g2 in FE (→GE)

Slur from f2 in EE
..

It is unclear how the difference between FE and EE occurred. The shape of the slur in FE indicates its possible proofreading, yet there are no visible traces that would allow us to guess the original version. It could have been the longer slur of EE; however, it is likely that the slur of EE is unrelated to the proofreading of FE and is a result of a mistake or revision.

category imprint: Differences between sources

issues: EE inaccuracies , Authentic corrections of FE

b. 19-20

composition: Op. 22, Andante spianato

> &  in FE, literal reading

 &  in GE1

> & > in EE

& > in GE2 (→GE3)

&  suggested by the editors
..

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

b. 29-31

composition: Op. 22, Andante spianato

Long accents in FE (→GE1)

Short accents in EE & GE2 (→GE3)
..

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

b. 36

composition: Op. 22, Andante spianato

 below f1 in FE (→GE)

 below d1 in EE
..

The earlier appearance of a  mark in EE is most probably an inaccuracy of the engraver.

category imprint: Differences between sources

issues: EE inaccuracies