Articulation, Accents, Hairpins
b. 1-2
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composition: Op. 28 No. 17, Prelude in A♭ major
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Fontana overlooked the dynamic hairpins in FC (→GE). The notation of A does not specify the range of the marks, since bar 2 was not written out with notes. We adopt the natural interpretation of FE (→EE). category imprint: Graphic ambiguousness; Differences between sources issues: Scope of dynamic hairpins , Errors of FC |
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b. 6-14
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composition: Op. 28 No. 17, Prelude in A♭ major
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In A all accents in b. 6, 8 and 14 are clearly long, which, however, was misunderstood both in FC (→GE) and FE (→EE). category imprint: Differences between sources issues: Long accents , Inaccuracies in FE , Inaccuracies in FC |
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b. 16
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composition: Op. 28 No. 17, Prelude in A♭ major
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The overlooked accent is one of many oversights of Fontana in this Prelude – cf., e.g. b. 1-2 or 21. category imprint: Differences between sources issues: Errors of FC |
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b. 19-23
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composition: Op. 28 No. 17, Prelude in A♭ major
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In A one can see in these bars crossings-out of dynamic hairpins – in b. 19, 20, 2nd half of b. 21 and in b. 22 and in the 1st half of b. 21 and in b. 23. See also b. 24-25. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 21
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composition: Op. 28 No. 17, Prelude in A♭ major
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The missing accent in FC (→GE) and EE are oversights of Fontana and of the engraver of EE. The mark having been moved to the side of noteheads in FE, i.e. in this case under the stave, is a frequent, routine revision; thus, the notation was left without a suggestion – certainly intended by Chopin – to accent the a1 note. category imprint: Differences between sources issues: Placement of markings , Errors in EE , FE revisions , Errors of FC |