Articulation, Accents, Hairpins
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b. 21
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composition: Op. 30 No. 1, Mazurka in C minor
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The hairpin was entered into FC (→GE) by Chopin – cf. the hairpin in the previous bar, which was copied by Fontana from [A]. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FC |
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b. 24
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composition: Op. 30 No. 1, Mazurka in C minor
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According to us, the long accent visible in FE corresponds to the notation of [A], hence we give it in the main text. We believe that the short accents of both FC (→GE) and EE resulted from an inaccurate reproduction of their respective bases. category imprint: Differences between sources issues: Long accents , Inaccuracies in FC |
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b. 25
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composition: Op. 30 No. 1, Mazurka in C minor
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In the main text we add a long accent over the a1 minim after the marks added by Chopin to FC in analogous bars 17, 19 and 27. The reason for this very likely oversight by Chopin could have been the fact that the discussed bar is at the end of a page. category imprint: Editorial revisions |
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b. 26
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composition: Op. 30 No. 1, Mazurka in C minor
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As in bar 18, in the main text we give the hairpin entered almost certainly by Chopin into FC. In GE the mark was clearly extended, which can interfere with the performance manner intended by Chopin. category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins , Authentic corrections of FC |
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b. 28-30
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composition: Op. 30 No. 1, Mazurka in C minor
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Chopin added the hairpins in FC, as was the case with the majority of the remaining dynamic marks in this Mazurka. GE partially adjusted the range of the marks to full bars, which in this case was justified to a certain extent, due to the transition to a new page starting from bar 29. category imprint: Differences between sources; Corrections & alterations issues: Scope of dynamic hairpins , GE revisions , Authentic corrections of FC |
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