mUltimate Chopin

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Issues : Centrally placed marks

b. 355

composition: Op. 11, Concerto in E minor, Mvt III

under 2nd triplet in FE (→EE,GE1→GE2)

​​​​​​​at beginning of bar in GE3
..

There are no doubts that  is in force already at the top of the passage. The placement of the marking in FE may be explained by its shape in [A] – it could have been so big that its right-hand end was already falling on the 2nd semiquaver triplet (cf. e.g. the ending of the Etude in C Minor, Op. 10 No. 12). Another possibility is a manner of writing indications within the range of their validity – cf. e.g. the end ​​​​​​​of the Etude in G​​​​​​​ Major, Op. 10 No. 5. An appropriate shift was performed already in GE3. 

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Centrally placed marks

b. 501

composition: Op. 11, Concerto in E minor, Mvt I

​​​​​​​ in GE3

​​​​​​​suggested by the editors
..

The fact of assigning ​​​​​​​ to the 3rd beat must be a result of misunderstanding the notation of [A] ​​​​​​​– see bar 16. The version of GE3 is a result of a complex, arbitrary revision modifying dynamics – here and in bar 15 and 19 – on the basis of dynamics of the orchestral part, written down in FEorch (→GEorch). 

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Centrally placed marks

b. 532

composition: Op. 11, Concerto in E minor, Mvt I

..

We preserve the original position of the staccato indication. It may mark a gradual change of articulation from legato to staccato during the chromatic sequence. 

category imprint: Source & stylistic information

issues: Centrally placed marks