Articulation, Accents, Hairpins
b. 388
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composition: Op. 16, Rondo in E♭ major
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In the main text, we adopt the hairpin after FE as the most likely reflection of Chopin's notation in [A]. In GE and EE the sign was slightly shifted in order to fit into the limits of semiquaver beams. category imprint: Differences between sources issues: EE revisions , GE revisions |
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b. 392
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composition: Op. 16, Rondo in E♭ major
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In FE, the engraver (or Chopin himself in [A]) must have overlooked the staccato dot under the 3rd quaver. The mark, most probably after comparison with the next bar, was added by the revisers of EE and GE. category imprint: Differences between sources issues: Errors 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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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 |
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b. 399
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composition: Op. 16, Rondo in E♭ major
category imprint: Differences between sources issues: EE revisions , Errors in EE |