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Source:
p. 6, b. 83-97
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It is unclear what caused the difference in the placement of the accents between GE and FE (→EE). One could assume that each version might be non-compliant with Chopin's notation:
- the engraver of GE, upon seeing the accents above the stems of the R.H. octaves, could have moved them to the side of the noteheads, which was quite a frequent, routine procedure (in GE the majority of those accents are placed closer to the R.H. octave);
- the copyist or engraver of FE, upon seeing the marks on the stave (between the octaves of both hands), could have moved them up to make them more legible.
At the same time, it means that each version of notation may be authentic; if FE were based on a second autograph, then even both. In the main text we give the notation of our principal source, i.e. FE, which is also supported by:
- the accents of GE in the repetition of this section with an expanded ambitus, placed clearly above the R.H. octaves (in GE accents are only in b. 119-121 there, which, however, does not undermine this argument).
- the appearance of accents (in b. 87) along with the a-a1 octaves, constituting the top pedal note in this entire section, generally accented by Chopin, cf., e.g. d2 in the Andante spianato, Op. 22, b. 55-62 or c2 in the Polonaise in A
major, Op. 53, b. 143-151.
In the main text we place the accents above the top stave, as it was performed in FE.
category imprint: Differences between sources
issues: Placement of markings
notation: Articulation, Accents, Hairpins
Missing markers on sources:
GE1, GE2, FE1, FE2, EE1, EE2, EE3, FES