Issues : Centrally placed marks
b. 329
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composition: Op. 21, Concerto in F minor, Mvt I
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According to us, the indication is to be interpreted as valid already from the beginning of the bar. It is one of examples of the manner of introducing indications within the scope of their validity, used sometimes by Chopin, particularly in his earlier works. In GE (→FE→EE) was most probably linked with the entrance of the L.H. category imprint: Differences between sources issues: Inaccuracies in GE , Centrally placed marks , Inaccuracies in A |
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b. 355
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composition: Op. 11, Concerto in E minor, Mvt III
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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 |
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b. 501
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composition: Op. 11, Concerto in E minor, Mvt I
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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 |
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b. 532
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composition: Op. 11, Concerto in E minor, Mvt I
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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 |