Issues : Inaccuracies in FE

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. 14-15

composition: Op. 16, Rondo in E♭ major

FE (→GE)

Our suggestion

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The con forza indication must apply to the R.H., since the L.H. dynamics was defined already in bar 13. The fact that it was placed between the staves could have been forced by extra-musical issues – in FE, there is simply no space above the R.H. part. If the indication was present in [A] above the R.H., Chopin did not have to take care of its precise placement. Due to this reason, in the main text we place the indication above the beginning of the phrase it applies to.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in FE , EE inaccuracies

b. 18

composition: Op. 16, Rondo in E♭ major

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FE (→GE) did not repeat accidentals in the section of the scale placed under the octave sign. The notation of EE is compliant with the contemporary rules.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , Errors repeated in GE