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Issues : Long accents
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b. 45-46
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composition: Op. 2, Variations, complete category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE inaccuracies , Inaccuracies in FESB |
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b. 47-48
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composition: Op. 2, Variations, complete
category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , |
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b. 49
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composition: Op. 2, Variations, complete category imprint: Differences between sources issues: Long accents , Inaccuracies in FE , EE inaccuracies , Inaccuracies in FESB |
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b. 50
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composition: Op. 2, Variations, complete
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We reproduce the notation of A, in which the length of the accents regularly decreases, which may suggest, e.g. that they should be each time milder, considering the calando. Such a graphical notation is to be found in a more complex form in the Polonaise in F minor, WN 12, in the autograph of which we can see in b. 79 a sequence of 6 notes marked diminuendo, provided with increasingly shorter accents. In the case of three accents only, it is, however, uncertain whether Chopin indeed wanted to suggest the pianist a certain performance idea; therefore, in the main text we interpret these marks in a standard manner, as long accents (written down inaccurately). This is how they were reproduced by GE1 (→GE2,FE1). The short accents of FESB and the vertical ones of EE are arbitrary changes, while the omission of the marks in GE3 – a mistake. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE revisions , Inaccuracies in FE , Errors in GE , Inaccuracies in A |
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b. 63
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composition: Op. 2, Variations, complete
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The long accent added by GE1 could be considered a revision or even Chopin's intervention were it not for the category imprint: Differences between sources issues: Long accents , Inaccuracies in FE , Errors in GE , GE revisions , EE inaccuracies , Authentic corrections of GE |
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