Issues : Inaccuracies in GE

b. 4

composition: Op. 16, Rondo in E♭ major

Long accent in #Wf (→#Wn)

Short accent in EE

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A precise differentiation between long and short accents, typical of Chopin's notation, and assigning them to the right or left hand is impossible due to the missing autograph and visible inaccuracies of the first editions. In FE, it is possible to observe differences between accents in some cases; it also applies to GE to a lesser extent. In turn, the reviser of EE reproduced almost all accents as short. It is impossible to clearly identify in which places the notation of FE reproduces Chopin's notation faithfully (which can also be imprecise) and in which ones the length of the accent results from a random event or an inaccuracy. We try to reproduce the composer's intention taking into account his habits in this respect, documented by sources in other compositions.

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources; Editorial revisions; Source & stylistic information

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE

b. 5

composition: Op. 16, Rondo in E♭ major

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In the absence of [A], it is difficult to determine whether the curved line over the g notes in FE (→GE,EE) is a tie sustaining those notes or a motivic slur (in Chopin's autographs, the differentiation is possible due to the shape of the curved lines). According to us, it is a motivic slur that is more likely here.

category imprint: Graphic ambiguousness; Editorial revisions

issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies , Tie or slur

b. 5-6

composition: Op. 16, Rondo in E♭ major

3 short accents in FE (→GE,EE)

3 long accents suggested by the editors

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In all sources, 3 subsequent accents in bars 5-6 are short. We consider it to be an inaccuracy of the engraver and suggest long accents in the main text:

  • long notes – in this case dotted g1 minims – are generally provided with long accents by Chopin;
  • the motif at the end of bar 5 is a repetition of the motif in bar 4, in which a long accent is unquestionable in FE.

category imprint: Editorial revisions

issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies

b. 18

composition: Op. 16, Rondo in E♭ major

Hairpin from 1st note in FE

Hairpin from 3rd note in GE

 hairpin & cresc. in EE

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Cresc. between the hairpin in FE (→GE) almost certainly conveys Chopin's notation in [A]. In EE, both indications were separated. A slightly later beginning of the hairpin in GE is most probably an inaccuracy of the engraver.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in GE

b. 21

composition: Op. 16, Rondo in E♭ major

Hairpin up to 3rd quaver in FE (→GE)

No hairpin in EE1 (→EE2)

Hairpin above R.H. in EE3

Hairpin to 4th quaver suggested by the editors

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The hairpin placed in FE (→GE) is imprecise: it ends at the level of the 3rd quaver in the bar. We suggest prolonging the mark to the end of the phrase. The engraver of EE1 (→EE2) completely overlooked the hairpin. It was only just the reviser of EE3 that added it (over the R.H.).

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , Errors in EE