Issues : Inaccuracies in FE
b. 378
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composition: Op. 16, Rondo in E♭ major
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The accent mark in FE is slightly but distinctly longer than the short accents in the previous bars. However, the remaining editions found this difference negligible. category imprint: Differences between sources; Editorial revisions issues: Long accents , Inaccuracies in FE |
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b. 383-384
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composition: Op. 16, Rondo in E♭ major
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In FE (→GE), there is no ending of the slur in a new line. It is one of the frequent mistakes of first editions. The continuation of the slur was added by the reviser of EE. category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information issues: EE revisions , Inaccuracies in FE , Uncertain slur continuation , Errors repeated in GE |
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b. 393
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composition: Op. 16, Rondo in E♭ major
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According to us, the short accent in FE (→GE,EE) is an inaccuracy of the engraver – cf. a much longer sign in similar bar 385. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE |
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b. 396-399
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composition: Op. 16, Rondo in E♭ major
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In FE, the slurs that begin in bar 396 and 398 (and also 400) end on the 5th semiquaver of the following bar, in a place where a new slur also begins. In this context, it is to be considered an inaccuracy. Perhaps the engraver literally conveyed Chopin's bold, imprecise slurs, which are frequently encountered in his autographs. The revisers of GE and EE correctly ended those slurs on the 4th semiquavers of the discussed bars. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , GE revisions |
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b. 396-399
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composition: Op. 16, Rondo in E♭ major
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Small differences in range of the hairpins in FE in bars 396-399 (as well as 400-401) are haphazard in nature and unintentional. Therefore, in the main text, we unify them following the example of the signs in bars 398 and 401, which, according to us, convey a possible meaning of those marks best – they serve as long accents, emphasisng the seventh of the diminished seventh chord (the 1st note of each group of four semiquavers) with regard to its resolution (the 3rd note). category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , Errors in EE |