Articulation, Accents, Hairpins
b. 61-62
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composition: Op. 16, Rondo in E♭ major
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Small differences concerning the range of the mark between the sources are insignificant in this context; it also applies to the differences between analogous bars. In the main text, we suggest a hairpin modelled after the first appearance of this phrase (bars 53-54) – it is likely that Chopin wrote the mark most carefully for the first time. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
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b. 71
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composition: Op. 16, Rondo in E♭ major
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A slightly earlier beginning of the hairpin is probably a routine revision of GE, where marks were often adjusted to metric structures. category imprint: Differences between sources issues: GE revisions |
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b. 77-78
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composition: Op. 16, Rondo in E♭ major
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The differences in the range of the hairpin is probably a result of the engravers' inaccuracy. In the main text, we give a hairpin modelled after the mark in analogous bars 53-54. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
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b. 84
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composition: Op. 16, Rondo in E♭ major
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The mark in FE paired with denotes a long accent in this context. A slight prolongation of the mark in GE made it clearly a hairpin. EE correctly considered the mark to be an accent and reproduced it as a standard, short accent. The same applies to bar 88. category imprint: Interpretations within context; Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE |
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b. 85
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composition: Op. 16, Rondo in E♭ major
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In GE, the reviser abandoned two separate accents for the last crotchet in favour of one mark for both hands. There is a similar situation in bar 237. category imprint: Differences between sources issues: GE revisions |