Main text
Main text
GE - German edition
GE1 - First German edition
GE2 - Second German edition
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FES - Stirling copy
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
EE3 - Revised impression of EE2
compare
  b. 125

No sign in GE

 in FE, literal reading

 in FE, possible interpretation

Long accent in FE, interpretation suggested by editors

Accent in EE

The  mark in FE is questionable when we try to interpret it. When interpreted literally, it points to a slight – not even one-beat-long – continuation of the eight-bar diminuendo. According to us, an actual result of that prolongation would be so imperceptible that it is difficult to imagine that this is how Chopin would have wanted to mark it. The position of the mark (incompatible with Chopin's vision) could have been influenced by the proximity of :

  • In the handwritten basis, the discussed mark could have concerned only just the group of demisemiquavers. In addition, if  had occupied more space in the manuscript than in print, the engraver could have assumed that the markings are related and placed  directly after  (cf., e.g. the notation of the ending of the Prelude in B minor, Op. 28 No. 6 – a possible  beginning in the autograph on the bar line of the last bar could have started in the penultimate bar in print). Such a position of a  does not mark a general diminuendo – along with the absence of a staccato dot on the a1 quaver, it signalizes a change in the character of this (and next) five-note figure – attenuating the hitherto sharp articulation of the a1 quavers, emphasizing the "military" rhythm. We include this possibility as an alternative suggestion.
  • In turn, if  had been written earlier, on the bar line or before it (like, e.g. in the Prelude in B major, Op. 28 No. 21, b. 25), the mark could have been a long accent concerning the 1st quaver of the bar, and the fact that it was moved to the right resulted from the necessity for  to avoid the bar line. NB: even without two elements merging into one, Chopinesque long accents would often be similarly distorted in print, cf., e.g. the Etude in A minor, Op. 10 No. 2, b. 12. We suggest this possibility in the main text, since we consider it to be most likely.

Compare the passage in the sources »

category imprint: Differences between sources

issues: Long accents, Inaccuracies in FE

notation: Articulation, Accents, Hairpins

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