Issues : EE inaccuracies
b. 129
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composition: Op. 16, Rondo in E♭ major
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The slur, inaccurately reproduced in EE1, was revised in EE2 (→EE3) by adding a second one, which makes the slurring resemble the one that the sources contain in bar 127. category imprint: issues: EE revisions , EE inaccuracies |
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b. 148-149
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composition: Op. 16, Rondo in E♭ major
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According to us, the range of stretto was inaccurately conveyed by the engraver of FE (→EE) – it should last until ritenuto. An oversight of dashes is even more likely, since bar 149 opens a new line of text. Therefore, in the main text we suggest adding dashes accordingly. In GE, there are no dashes at all, which is a frequent inaccuracy of that edition. However, in this case, if our interpretation of Chopin's intention is correct, leaving stretto alone seems to be less misleading than marking its range inaccurately. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FE , GE revisions , EE inaccuracies |
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b. 156-157
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composition: Op. 16, Rondo in E♭ major
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The differing dynamic markings appearing in identical motifs – in bar 156 and a long accent in bar 157 – suggest that the notation is inaccurate. It is supported by a comparison with analogous or identical bars 152-153 and 164-165, which contain accents. However, taking into account frequent misunderstandings in the reproduction of long accents, we consider it to be likely that it was long accents that Chopin meant in both bars. category imprint: Interpretations within context; Differences between sources issues: Long accents , EE inaccuracies |
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b. 159
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composition: Op. 16, Rondo in E♭ major
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A hairpin in all sources is a possible inaccuracy of the engraver – in similar bar 167, the length of the mark clearly points to a long accent. category imprint: Differences between sources; Editorial revisions issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
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b. 164-166
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composition: Op. 16, Rondo in E♭ major
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The bass notes are provided with staccato dots both in strictly analogous bars 156-158 and similar bars 152-154 and 160-162. In this situation, the absence of dots in the discussed bars must be considered an oversight, since there is no doubt that the places are to be performed in the same manner (cf. similarly structured bars 456-471 in the 3rd mov. of the Concerto in E Minor, Op. 11). In GE, only the first dot was added, in bar 164. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FE , GE revisions , EE inaccuracies |