Articulation, Accents, Hairpins
b. 345-346
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composition: Op. 2, Variations, complete
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In both bars wedges instead of dots must have resulted from an ad hoc revision by the engraver of GE1, who unified these marks in the entire finale of the Variations. category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 347-348
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composition: Op. 2, Variations, complete
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Wedges instead of dots over the octaves and the sequence of L.H. quavers played over the R.H. must have resulted from a revision by the engraver of GE1, who unified these marks in the entire finale of the Variations. category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 347
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composition: Op. 2, Variations, complete
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As in bar 343, the type of accents was arbitrarily changed by the engraver of EE. category imprint: Differences between sources issues: EE revisions |
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b. 357
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composition: Op. 2, Variations, complete
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As before (bars 343 and 347) the engraver of EE arbitrarily used vertical accents here. category imprint: Differences between sources issues: EE revisions |
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b. 359
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composition: Op. 2, Variations, complete
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In the main text we suggest hairpins under the L.H. motifs after three previous analogous bars 341, 345 and 355. Crescendos in such figures are one of the elements defining the shape of a motif, hence the absence of marks must be considered Chopin's oversight. category imprint: Editorial revisions |