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b. 105
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composition: Op. 21, Concerto in F minor, Mvt III
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It is uncertain which type of accent Chopin considered here – the sign is significantly shorter than the next accent and a few others, but the difference to those in bars 99 and 102 is very small. Taking into account the syncopated nature of this minim and the fact that all surrounding long accents concern minims or minim-long motifs, we deem it to be long. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in A |
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b. 105-107
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composition: Op. 11, Concerto in E minor, Mvt II
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The fingering of FES, given in the main text in bars 105 and 107, with slide of the 1st finger, willingly used by Chopin, was written by him in pencil and repeated ("enhanced") by Miss Stirling in ink. In this light, the differing fingering of FEH seems to be much less typical of Chopin. In EE, Fontana offers two fingering variants, the first of which overlaps with the Chopinesque fingering (FES). category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FES , Annotations in FEH |
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b. 105
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composition: Op. 11, Concerto in E minor, Mvt II
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Fontana's fingering, given in EE in a place that can be actually performed only with this fingering, most probably does not come from Chopin. Cf. bar 109. category imprint: Differences between sources issues: EE revisions |
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b. 105-117
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composition: Op. 11, Concerto in E minor, Mvt I
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We give the long accents in bars 105, 107 and 117 after Atut. In the editions, they were reproduced as short ones, whereas in GE, the mark in bar 105 was overlooked. category imprint: Differences between sources issues: Long accents , Inaccuracies in FE , Errors in GE |
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b. 105-107
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composition: Op. 16, Rondo in E♭ major
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Omitting dashes marking the range of a dynamic change is a frequent inaccuracy of GE. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions |
