Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
Op. 27 No 2, Nocturne in D♭ major
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A more probable reading of A |
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The notation of A is not clear: the sign out after 
looks like a long accent and, due to very disorderly arrangements of the R.H. notes, it reaches up to the 5th semiquaver with its right end. In such a situation it is not surprising that in GE (→FE→EE) it was interpreted as 
.
An argument against associating the length and the musical sense of the discussed sign with the semiquavers written above it in A is the appearance of the combination of and evident accents in the neighbouring bars 42 & 44, especially in the twin bar 42, where the accent is only slightly shorter than the one discussed here.
category imprint: Graphic ambiguousness; Differences between sources
issues: Long accents
notation: Articulation, Accents, Hairpins
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