Articulation, Accents, Hairpins
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b. 37
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composition: Op. 16, Rondo in E♭ major
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In such contexts, we encounter both short and long accents in Chopin's pieces. Therefore, it is difficult to determine without autograph which ones Chopin meant in this bar. In the main text, we preserve the notation of the principal source, i.e. FE. category imprint: Differences between sources issues: Long accents , EE inaccuracies |
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b. 52-60
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composition: Op. 16, Rondo in E♭ major
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In GE, all wedges in bars 52-53 and 56-60 were reproduced as staccato dots (one mark was overlooked – see bar 57). Such an arbitrary decision (inaccuracy?) frequently appears in first editions of Chopin's pieces – cf. e.g. the Sonata in B category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions , Wedges |
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b. 55
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composition: Op. 16, Rondo in E♭ major
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The missing staccato mark over c4 is probably an oversight of the engraver of GE. category imprint: Differences between sources issues: Errors in GE |
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b. 55
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composition: Op. 16, Rondo in E♭ major
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A wedge instead of a staccato dot over the bass f is probably an inaccuracy of FE (→EE), since the vast majority of analogous places include a dot (cf. bars 63, 79, 231, 363, 372). Other bass notes in this section of the Rondo are also provided with dots. GE include a dot, yet it is a result of an arbitrary, routine change of all wedges to dots. There is a similar situation in bar 223. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , GE revisions |
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b. 57
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composition: Op. 16, Rondo in E♭ major
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The missing staccato mark is almost certainly an oversight of the engraver of GE. category imprint: Differences between sources issues: Errors in GE |
Minor, Op. 35, 2nd mov., 
