Articulation, Accents, Hairpins
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b. 18-24
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composition: Op. 21, Concerto in F minor, Mvt III
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The staccato signs written above the R.H. in bars 18 and 20 are binding also for the L.H. The dots written between the staves in bar 24 can be considered to be referring to the parts of both hands – in analogous bar 348 dots in A are written separately for each of the hands. In order to avoid doubts, in the main text we suggest adding signs in the L.H. category imprint: Editorial revisions |
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b. 29-32
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composition: Op. 21, Concerto in F minor, Mvt III
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Eight staccato signs on the first crotchets in these bars (in both hands) are clearly wedges in A (only the sign in the L.H. in bar 30 could be considered a dot, in another context). In spite of this, the editions reproduced them as dots, which is a simplification characteristic of the engraver of GE1, uncorrected in any of the remaining editions. The absence of the sign in the R.H. in bar 31 is a patent oversight of GE1 (→FE→EE). category imprint: Differences between sources issues: Inaccuracies in GE , Errors in GE , Wedges |
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b. 29-32
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composition: Op. 21, Concerto in F minor, Mvt III
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The notation of accents in A is clear and unambiguous – four long accents on the 3rd beat of each of the bars. In spite of this, the editions did not faithfully reproduce both the placement and the length of the signs. All changes in GE1 and FE are undoubtedly of an accidental nature, which, with a tightly packed text, leads to confusion and impedes the interpretation and reproduction of their notation. Sometimes, the accents start so close to category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE , Inaccuracies in FE , GE revisions |
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b. 41-43
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composition: Op. 21, Concerto in F minor, Mvt III
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The missing wedges at the beginning of bars 41 and 43 are certainly a result of inaccuracy (haste) of the engraver of GE1 – both cases are perfectly clear in A (the sign in bar 41 probably originated by the addition of the correct wedge to the nucleus of the slur, which Chopin then started from the semiquaver). In GE2, only the sign in bar 43 was included, interpreting it as a dot. In the main text, we suggest adding signs in the L.H., since a homogeneous articulation of both hands is beyond doubt. category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 49-59
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composition: Op. 21, Concerto in F minor, Mvt III
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In the main text we suggest adding articulation markings – dots and slurs – in the places where the homogeneous rhythm and character of the parts of both hands are beyond doubt. category imprint: Editorial revisions |
& different accents in 
that it seems that both signs constitute a pair, accenting one strike together (Chopin would often use such combinations, but in this case 
pairs to be applying to the 2nd beat; the kind of employed accents is unobvious, but they are longer than, e.g. the signs in bars 24-26 and 28. 
